Review of Heather Millar, the Kingdom of Benin in West Africa Dan Ben-Amos University of Pennsylvania, Dbamos@Sas.Upenn.Edu

Home , Edo language, Edo people, Erediauwa, Ewuare, History of Benin, Kingdom of Benin

University of Pennsylvania ScholarlyCommons Department of Near Eastern Languages and Departmental Papers (NELC) Civilizations (NELC)

1997 Review of Heather Millar, The Kingdom of Benin in West Africa Dan Ben-Amos University of Pennsylvania, [email protected]

Follow this and additional works at: http://repository.upenn.edu/nelc_papers Part of the African History Commons, African Languages and Societies Commons, African Studies Commons, Anthropology Commons, Cultural History Commons, and the Near and Middle Eastern Studies Commons

Recommended Citation (OVERRIDE) Ben-Amos, D. (1997). Review of Heather Millar, The Kingdom of Benin in West Africa. African Arts, 30(4), pp. 12-14, 88, 95-96. http://dx.doi.org/10.2307/3337548

This paper is posted at ScholarlyCommons. http://repository.upenn.edu/nelc_papers/116 For more information, please contact [email protected]. Review of Heather Millar, The Kingdom of Benin in West Africa

Abstract Clio smiles, then weeps. A hundred years after its destruction, the empire of Benin enters the hall of fame of civilizations. Standing alongside old standards like Greece and Rome that have constituted the canon at least since the Renaissance, and next to some newcomers like the ancient Maya, the Aztec empire, China's Tang Dynasty, and India's Gupta Dynasty that have been ushered in by the spirit of multiculturalism, Benin—so far the sole representative of the African continent in the series "Cultures of the Past"— takes its position on the educational shelf that could shape the historical consciousness of future generations. Other West African kingdoms like Oyo, Dahomey, and Asante could have represented Africa in the global canon of political and cultural history (Forde & Kaberry 1967), but Benin, triumphant in her 1897 defeat, offers a more poignant testimony to the horrors of colonialism and a more striking monument to its demolition.

This review is available at ScholarlyCommons: http://repository.upenn.edu/nelc_papers/116 UCLA FOWLER MUSEUM OF CULTURAL HISTORY UCLA FOWLER MUSEUM OF CULTURAL HISTORY announces the publication of announces the publication of ISN'T S/HE A DOLL? PLAY AND RITUAL IN AFRICAN SCULPTURE (ROWNI N ACHIEVEMENTS This publication explores African dolls-from those made for children to play with to those used in ritual to promote fertility- AFRICAN ARTS OF DRESSING THE HEAD and the meaningful, powerful roles they play in everyday life. Essays by Elisabeth L. Cameron by Mary Jo Arnoldi and Christine Mullen Kreamer and Doran H. Ross "play" with Contributors also include: Elisabeth L. Cameron, Patricia Darish, ideas about dolls, expanding our David A. Binkley, Michael Oladejo Afolayan, and Betty Wass. American notions of dolls as Spectacular hats for special events and informal daily simply playthings. The catalog section presents dolls made from headwear adorn the human head, traditionally held by wood, clay, beads, gourds, wax, African cultures to be the seat of individual power, spirit .:~,~ : :~':, tar, or plastic. This variety of and intelligence. Crowning Achievements explores the dolls is used to promote fertility, cultural history and lore of African headwear and its vital mark coming-of-age initiations, role in reinforcing societal norms, announcing impor-

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:~:~ ; to serving as playthings. cumulation in the Lega and Kuba societies are compared; 8.5"x11': 124 pages, 160 illustrations (137 in transatlantic connections between Africa and the Americas color). One map. Bibliography. Index. 1996. are also explored. Twelve pincipal hats are examined in depth. Softbound: $24.00* Ordering 1 copy, shipping within the 93/6" 10 /4", 192 pages, 225 illustrations, 143 in color. Bibliography. Hardbound: * $45 0* U.S.: add $4 (softcover), $6 (hardcover). $45.0" *CA residents add 8.25% sales tax. Softbound: $29.00 (+ $4.00 shipping/handling* = $33.00), Ordering 1 copy, shipping outside the Hardbound: $50.00 (+ $6.00 shipping/handling* = $56.00). UCLA U.S.: add $8 (softcover), $12 (hardcover), allow 10 weeks for delivery. For shipping on multiple copies, or for quantity FOWLER - ' . ' ' ' ' ' , , . A - *~ ~~~~~~~~~~~~~~~ .- * discounts, contact the Museum: phone (310)825-9672 MUSEUM or fax (310) 206-7007. Make checks or money orders OF 441 -1 1 V I I' * - I,I SI payable (in SU.S.) to: U.C. Regents. Mail orders to: UCLA CULTURAL Fowler Museum of Cultural History, Box 951549, Los Om, - eGArn-.miir _ [aIl HISTORY Angeles CA 90095-1549 USA. R 13_T 3 w

testimony to the horrors of colonialism and a generations. Literature for children and adoles- more striking monument to its demolition. cents-textbooks in particular-could set new The victors who conquered Benin a hun- historical and literary horizons for the future. b o o k S dred years ago first spread its fame by trading Far from being marginal, it forges the idea of in its cultural goods. This has been the looter's history, delineates its boundaries, and selects way for ages. When the Romans destroyed the the facts, figures, and peoples that make up the THE KINGDOM OF BENIN Temple in Jerusalem in A.D. 70, they paraded traditional heritage upon which the students of IN WEST AFRICA its seven-branched candlestick, the table of today will build up their cognitive world. It re- Heather Millar shewbread, and its trumpets and censers in identifies the centers and peripheries of politi- the streets of Rome, and then commemorated cal actions and cultural creativity and redefines Cultures of the Past. Marshall Cavendish, Tarry- their loot on the Arch of Titus, erected in A.D. the relationships between them. town, NY, 1997. 80 pp., 44 color photos, glossary, 81. None of the original objects are extant. The reshuffling of historical narratives that bibliography, index. $19.95 hardcover. About 1,800 years later, at the end of the nine- has engaged scholars in recent years and has Reviewed by Dan Ben-Amos teenth century, the British soldiers who ran- brought about the incorporation of the pasts of sacked Benin behaved less ceremonially but African, Native American, and Pacific peoples, Clio smiles, then weeps. A hundred years after with greater commercial acumen. Essentially to name but a few of the neglected populations, its destruction, the empire of Benin enters the they followed the same route, spreading the into the scope of global history, is finally filter- hall of fame of civilizations. Standing along- artworks throughout the major anthropologi- ing into high-school textbooks. It aims to shift side old standards like Greece and Rome that cal museums of the world, thereby placing the the focus from a West-centric to a universal per- have constituted the canon at least since the bronzecasters of Igun Street among world- ception of life on earth, and to articulate the his- Renaissance, and next to some newcomers like renowned artists. The enigmatic beauty of the tories of peoples whom the world forgot. the ancient Maya, the Aztec empire, China's Benin ivory hip-mask made by the artists of The present small and glossy volume could Tang Dynasty, and India's Gupta Dynasty thatthe Igbesanmwan guild has become as well have then fulfilled an important educational have been ushered in by the spirit of multicul- known as that of the Mona Lisa, and now it is function. Its general design aims at telling the turalism, Benin-so far the sole representative a symbol of African artistic attainments as well history of Benin from its mythical origins, of the African continent in the series "Cultures as a monument to their ravishment. through its days of glory, fall, and adjustment of the Past"-takes its position on the educa- The present book evidences the recognition to the current world order. Heather Millar tional shelf that could shape the historical con- of Benin as a major past power and a cultural divides her book into five chapters: "History," sciousness of future generations. Other West center within its region, establishing its position "Cultural History," "Belief System," "Belief and African kingdoms like Oyo, Dahomey, and in the canon of civilizations. Its appearance in Society," and finally "The Legacy of Benin." At Asante could have represented Africa in the an educational series designed for, and one first she unfolds the grand course of Benin his- global canon of political and cultural history hopes adopted by, middle and high schools in tory, telling about its political "Golden Age" (Forde & Kaberry 1967), but Benin, triumph- the English-speaking world could potentially and its tragic end at the mighty hand of British ing in her 1897 defeat, offers a more poignant affect the historical consciousness of the coming colonialism. Next she describes the art of brass

1212 african arts autumn african arts -autumn1997 1997

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and ivory that has made Benin famous, articu- errors that accumulate into a pattern of negli- lating some of its symbolic meanings and its gence. No doubt, some are due to a writing 04s4Ata 1Adde w%fi ^4 place in Edo social structure, rituals, and belief. style aimed at an adolescent readership, while 9.?. JxS- 1768 a4t4&wfr4 y'440o Millar devotes the third chapter to religion. She others reflect an attitude of exotic admiration Aew %o4 Jia %od 1 0027 e describes the personal guardian, Ehi, and dis- that is appropriate to the National Geographic. (212) 28S-405 / 28-4252 cusses the spiritual importance of the head and Some stem from innocent ignorance. For exam- Oedia&ed vJda4o 6> , aci on ^e^nawido d44 the hand, telling also about the supernatural ple, the late Oba Akenzua II, his picture (p. 19) world of witches, ancestors and gods, and the supplied by the Angela Fisher/Robert Estall 'fMded iaome cs 4 WW/' divinity of the Oba. In the fourth chapter, Photo Agency, should not have been identified which bears the curious title "Which Came as his son, "Today's Oba Erediauwa." What- First, Benin or Its Culture?," she explains ever the the reason, there is no excuse for such mis- hierarchy of chieftaincy associations and titles takes, particularly in a textbook. in Benin and the centrality of the Oba in Edo Other mistakes touch upon basic cultural society. The last chapter purports to inform principles. The name of the kingdom is a fun- students "How Benin Lives On Today," telling damental symbol of cultural and national iden- about the persistence of tradition in the present tity. Millar, almost in passing, states: "The and the influence of Benin culture on the Afri- people of Benin, who called themselves the can diaspora. As befits a textbook the author Edo (eh-DOE) or the Bini (BEE-nee), didn't appends to her narrative a helpful chronolo- write down their traditions" (p. 8). Truly, in Comparative linguistics offers another possi- gy of the kingdom, a glossary of terms, titles, scholarship the two names are interchange- bility for rescuing the origin of this dual nam- and names of gods, and a bibliography for able, but the Edo people never refer to them- ing from obscurity. Ryder suggests that "the further reading. selves in their own language as Bini. They first Portuguese to arrive on the coast picked In broad strokes such an outline could have might use this term in conversation with a up the name beni, meaning 'water dwellers,' represented the history and culture of the king- foreigner, accommodating his or her terms from the Ijo and applied it in error to the Edo" dom of Benin. But when the fine details are of reference, but in their own speech, prov- (1984:352, n. 21). Certainly such a detailed dis- etched in, Clio weeps. Millar is neither erbs, an poetry, and narratives, the term Bini cussion has no place in a middle- or high- Africanist nor a Benin specialist. She is, as andthe its derivations do not occur. A. F. C. Ryder school textbook, yet the succinct style does not book blurb informs the reader, a professional (1969:10) correctly regards Edo as the native exempt Millar from accurately stating the Edo writer and a student of Chinese language andname and Benin as an alien designation. terms for their national identity. history. In those capacities she authored China's The origin of either name is subject to folk When Millar addresses the Edo pride in Tang Dynasty (1996) in the same "Cultures etymologies of and legends that critical linguistic their past glory, she does it in an underhand- the Past" series. The present book seems analysis to has not yet validated. Jacob Egharevba ed way, reducing a statement of political have been an assignment. The editors of derivesthe the name Benin from the expression strength to its ceremonial manifestation. She series at Benchmark Books might have "Ile-Ibinu" (land of vexation), which he tra- opens her narrative with the statement that assumed that once you know one non-Western ditionally attributes to the Yoruba Prince "five hundred years ago, the kingdom of society, you know them all, neglecting the very Oranmiyan, who could not adjust to life in Benin (buh-Neen) outshone all others on the historical consciousness they promote. But Beninthe (Egharevba 1960:7; see also Bradbury West coast of Africa" (p. 6). Indeed, from all Benin kingdom and the culture of the Edo 1957:18). H. Ling Roth (1968 [1903]:7-8), citing available accounts, the kingdom reached one require long-term study. It is a complex society, Captain Roupell who recorded historical Benin of its political peaks at the turn of the six- with an intricate history, a complicated reli- traditions from well-informed chiefs a year teenth century. At that time few West African gious system, a multigeneric oral literature, after the disastrous events of 1897, suggests empires, which would attain the height of and an artistic heritage that has won world- that Oba Eweka (ca. 1200) named the town their political strength in subsequent cen- wide admiration. An Edo proverb articulates after his favorite slave, Ubini, while Egharevba turies, rivaled Benin. Yet, Millar's next sen- the attitude the people themselves have (1960:17) proposes that Oba Ewuare (ca. 1440) tence is a non sequitur that reduces the idea of toward their own culture: A gha se Edo, Edo rre,named it after his own beloved slave, Edo. power to its ritualistic component: "At no which can be interpreted as "The closer you Indeedget "U" is a common prefix for names of time did the kingdom glitter more than when to Benin, the more elusive it becomes." localities in the Edo language, and therefore a new king was about to be crowned" (p. 6). Writing skills are insufficient in this case. the first of these traditions may represent No doubt, up to these very days the Edo peo- The absence of a complete command of somethe older cultural information, but the repet- ple celebrate their political and religious ritu- data-the nightmare of every journalist- itive nature of these two narratives indicates als with much fanfare, following traditional results in a tur of phrase that shifts the facts, that they have their basis in a traditional nam- principles as much as possible. But royal and ever so slightly, and a succession of minor ing pattern rather than in historical fact. annual rituals are just an external manifesta-

african arts autumn 1997 13

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mention of either the University of Benin and 0{rn ^F^^rf its modern teaching hospital nor the other med- ical facilities in the city. As the capital of Bendel State, in the past thirty years Benin City transformed from a somewhat dormant town into a thriving economic and political center within Nigeria. Demographically and linguistically it A -~ I is a home no longer just for the Edo but also for i A, many other Nigerian peoples. In addition,t, to \1 uS: 1 Edo languages, the modern citizens of Benin __ II Y1L~~II City speak or at least hear on their streets and in their markets Igbo, Hausa, Yoruba, and other Nigerian languages. Such diversity has stimu- lated social and religious changes, a prolifera- tion of new cults and churches, and a general increase in cultural creativity. Except perhaps in its rural enclaves Benin is no longer a homoge- neous society. The exchange of languages, tion ideas, and belief systems between members of of social structure and economic stability. The different groups only adds to its vitality. installation of a new king, colorful as it may Edo authors and poets transform their oral be, is not the reason for the historical regional tradition into literary forms and have local supremacy of Benin. When Millar describes the role the Oba theatrical groups produce dramas that re- plays in state rituals she says: "Though enact he narratives of past Obas, their wars and wears modern eyeglasses, he carries on internaltradi- conflicts. So far they have not enjoyed tions that are at least eight hundred years access old" to international publishers, and their lit- GALLERIE LA (p. 17). TAJ The historical inaccuracy in datingerary creativity is clearly local. Consequently these traditions notwithstanding, the dichoto- it is free of any external pressures, providing a African * International Art my she perceives between Oba Erediauwa's basis for the emergence of a genuine Edo liter- nearsightedness and Edo rituals implies ature. an Millar, however, ignores this important 1010 King St., Old Town, Alexandria, VA opposition between eyeglasses as symbols cultural of development. The only aspect of modernity and rituals as symbols of tradition. Benin's artistic renaissance that she mentions (703) 549-0508 Indeed, Oba Erediauwa is very much a ismod- carving, which is produced specifically for ern man, and not just because of his glassesthe tourist trade (p. 64). (his father wore them as well). He has degrees At the same time she projects an Edo-cen- from a world-renowned university and beforetric view of the African diaspora. The worship ascending the throne had a successful career of West African gods in Cuba and other within the Nigerian federal government. Caribbean His islands and Brazil, and their revival current cultural policies demonstrate that in Easthis Coast cities from New York to Miami, education complements rather contrasts are with not necessarily subject to Edo religious Benin tradition. He does not let technical, influence sci- but rather to the spread of cults the entific, and educational progress eradicate Edo share with other West African peoples. Edo traditions, insisting upon their preserva- Similarly, jazz rhythms certainly exhibit the tion and adequate public presentation. influence His of African music but not necessarily enlightenment is in accord with modern think-Benin music. In her designation of Benin as a *0 ing that advocates integration of new and source old of modern musical styles Millar further ways. Later in the book Millar addresses compounds this vague and antiquated generaliza- issue (pp. 62-63), this time correctly. tions, stating that the music is typical "of the Oddly, the chapter "How Benin Lives Niger-Congo On River area where Benin is locat- Today" (pp. 60-72) focuses only on describing ed" (p. 72). Benin, as the map on page 18 clear- the cultural legacy of the past with barely ly anyshows, is west of the Niger River, located at reference to dynamic modern life. There is no Continued on page 88

14 african arts autumn 1997

This content downloaded from 165.123.108.206 on Wed, 30 Aug 2017 15:00:54 UTC All use subject to http://about.jstor.org/terms b o o k Continued from page 14 suggested reading reading list andlist the and bibliography the bibliography (junior high)high) audience. audience. Edo Edo is isthe the latest latest addi- addi- (pp. 76-77). 76-77). The The omission omission of H. Lingof H. Roth's Ling Roth's tion toto "The"The Heritage Heritage Library Library of of African African 6? 20'20' latitudelatitude and and 5? 5? 35' 35' longitude. longitude. The The long long Great Benin: Benin: Its ItsCustoms, Customs, Art and Art Horrors and Horrors(1903) (1903) Peoples," whichwhich boasts boasts more more than than fifty fifty titles, titles, coastal stretchstretch from from the the Niger Niger to tothe the Congo Congo from the the same same list listis similarly is similarly surprising. surprising. ranging fromfrom the the Agikuyu Agikuyu in in east east Africa Africa to theto the (Zaire) deltasdeltas is is home home to to a broada broad range range of musi-of musi- The volume's volume's glossy glossy paper, paper, colored colored pho- pho- Zulu inin southernsouthern Africa. Africa. Unfortunately, Unfortunately, if if cal styles,styles, and and their their condensation condensation into into a single a single tographs, and and handsome handsome production production do not do not these twotwo offeringsofferings are are indicative indicative of ofthe the two two type doesdoes not not do do justice justice to to the the richness richness of of compensate for for its shortcomings.its shortcomings. The induc- The induc- series, thethe RosenRosen Publishing Publishing Group Group should should be be African musicalmusical creativity. creativity. Millar Millar continues continues tion of Benin into the hall of fame of civiliza- held accountableaccountable for for irresponsible irresponsible editing, editing, with herher fuzzyfuzzy attributions attributions to tothe the Edo Edo in herin her tions does not require cosmetic surgery. The resulting inin books books full full of of sloppy sloppy errors. errors. discussion of of African African aesthetic aesthetic principles. principles. She She kingdom was a forceful power in the region, In less than a thousand words of text Peffer- points outout that that while while the the idea idea of of"coolness" "coolness" as as and its history illustrates many of the follies of Engels gets it so wrong so often. "Who Are the a highhigh aestheticaesthetic value value is isshared shared with with other other political force and at the same time many of Edo of Benin" tells us that "many Edo were African peoples,peoples, somehow somehow its its spread spread through- through- the collective and individual cultural achieve- brought as slaves to North and South America out the modern world owes much to the Edo ments of a dynamic society. Its presentation and in took their art and religion with them," a (p. 72); she thus neglects this concept among a school textbook can and should reveal remarkable twist on the history of a kingdom the Yoruba, noticed by Robert Thompson, who Benin's past and present without omitting that became involved in the slave trade as suggested it as a source for the African- any facts, fully accounting for its glory entrepreneurs with rather than as victims. Flip a American expression "cool" (1966:85-102). an accuracy that befits our children. page andD we learn that the Edo people "chew Millar's account of recent historical devel- Notes, page 95 bitter-tasting kola nuts when they work in the opments raises questions more than it pro- hot sun." To prevent sunstroke? Kola nuts are vides answers. For example, although she tells consumed for the same reason that Westerners about the Owegbe cult, including some lurid drink coffee-as a mild stimulant. They do details (pp. 67-68), she is totally silent about keep people awake, especially long-distance the formation of civil rule under British ad- taxi drivers and students studying late for ministration and the rise to power of Agho BENIN KINGDOM OF WEST exams, but this has absolutely nothing to do Obaseki. Obaseki became the Iyase of Benin AFRICA with the sun. Flip again and the section on vil- and in 1916 was the Head of Benin District, the John Peffer-Engels lages shows two kids playing draughts "in largest and most populous in Benin Division. Celebrating the Peoples and Civilizations of BeninAfrica. City, the largest city in Benin." Benin City, The lack of narrative balance becomes even The Rosen Publishing Group's PowerKids thePress, largest city in Benin? Another flip and the more glaring when one considers the fact Newthat York, 1996. 24 pp., 10 color photos, glossary, section on the king shows a photograph of Ize Chief Omo-Osagie, the Iyase of Benin in index. the $13.95 cover. Iyamu, in chiefly dress and in front of his sixties, was involved in the Owegbe cult affair. house, with the caption "The Edo believe that The Owegbe association grew from a small EDO the Oba is very powerful." This cleverly am- cult in 1947 to a politically powerful secret The Bini People of the Benin biguous caption suggests that we are looking at society that permeated all ranks in Benin Kingdom and a photograph of the king. Another page de- neighboring divisions. Its influence "constitut- Chukwuma Azuonye scribes a shrine to Olokun as an paternal ancestral shrine. In addition to these textual errors, ed a serious threat to peace, order and Thegood Heritage Library of African Peoples. The government in the Mid-West," and therefore Rosen Publishing Group, New York, 1996. 64 pp., the photographs by Phyllis Galembo are highly "stern measures [were] required to eradicate 24 color photos, glossary, bibliography, index. saturated and much too dark as printed. its menace" (Ministry of Internal Affairs, $15.95 hardcover. Edo: The Bini People of the Benin Kingdom 1966:159).1 Following the report of the investi- begins with a foreword by George C. Bond, gation commission some prominent political Reviewed by Joseph Nevadomsky series editor and also director of the Institute of leaders were arrested on April 19, 1966. African Studies at Columbia University. It The affair shook up the political power These two books are part of a recent deluge of comes off as very old hat: "Large numbers of structure in Benin and could have served not children's texts on Benin that include The Africans live in modern cities. Rural Africa is only as an example of "modern witchcraft," Kingdom as of Benin in West Africa by Heather also being transformed, and yet its people still Millar calls it, but as an illustration of the mul- Millar (reviewed in this issue, p. 12); Benin engage in many of their customs and beliefs" (p. tidimensional nature of politics in modern Folklore by Funmi Osoba (Hadada, London, 7). Anyone who has done research on religion Benin. Millar's silence about the rise to power 1994), a "book of traditional stories from and ritual in Benin City knows that the rural- of Agho Obaseki and his descendants in Benin Benin" that is now quite impossible to get, since urban dichotomy does not and never did apply: is particularly regrettable because this impor- Hadada seems to have packed up; Ancient urban centers are havens for all sorts of custom- tant chapter in modern Benin history has been African Town (Metropolis Series, The Salariya ary practices and beliefs, and urban worshipers the subject of excellent historical studies byBook Co., Brighton, in conjunction with Frank commute between town shrines and country- Philip Aigbona Igbafe (1979). Watts, London, 1997), a tour of seventeenth- side shrines as divination and clients require. In general the Edo people are fortunate centuryas Benin by Fiona MacDonald (who has That there is some kind of magical transforma- far as modern scholarship is concerned. Stu- misscribed from Paula Girshick Ben-Amos and tion between rural and urban is strictly in the dents have examined their art, language, andHenry Ling Roth and gotten it completely heads of old-fashioned developmental theorists. history, applying to their research high and wrong) with illustrations by Gerald Wood (who Chapter one has a useful map but is other- rigorous standards. The excellent dictionary has no visual idea of it). Benin is also one of the wise unremarkable except for the photograph that Hans Melzian compiled in 1937 offers focuses a of Oyo, Benin, Ashanti ("African King- of what appears to be a native physician who solid linguistical foundation. In 1956 K. O. doms of the Past" series, Dillon Press, New is identified as an enogie (pl. onogie). He is Dike initiated the Benin Scheme, one of the Jersey, 1996) by Kenny Mann, a documentary dressed in war garments and wears a small earliest interdisciplinary projects devoted to filmmaker who grew up in Nairobi and has an atete (raffia tray) around his neck. His title is the study of a society in sub-Saharan Africa. engagingly integrated sense of history. Enogie n'Ogiugo (Phyllis Galembo, personal He brought together a team of young scholars: Aimed at early-elementary schoolchild- communication), which translates as the the anthropologist R. E. Bradbury, the histori- ren, Benin Kingdom of West Africa is one of a "Duke of death" and, indeed, is the moniker of an A. F. C. Ryder, the art historian Philip Dark, series called "Celebrating the Peoples and this native doctor. Although the caption goes and the archaeologist Graham Connah. Each Civilizations of Africa" that lists the Asante, on to say that an enogie holds the "position of made a substantial contribution to the study of Dogon, Maasai, Yoruba, and Zulu in its titles. village chief or head," in fact it is the odionwere, Benin, yetyet except except for for Bradbury's Bradbury's books, books, none none It is a simplified version of Edo: The Bini People the oldest person in the community, who func- receives even so much as a mention in Millar's of the Benin Kingdom, written for a juvenile tions as the head. The onogie, or Oba's half-

88 alrican arts autumn 1997

This content downloaded from 165.123.108.206 on Wed, 30 Aug 2017 15:00:54 UTC All use subject to http://about.jstor.org/terms I LaDuke, Betty. Betty. 1991. 1991. Africa: Africa: Throuigh Throuigh the Eyes the of Womenl Eyes of Artists. Womenl Artists. Trenton: Africa World Press. McEwen, Frank. 1966. "Modern African Painting and Sculp- ture," in Colloquium on the FLinction aind Significaince of Negro contr i butors Art ini the Life of the People and for the People, pp. 427-37. Dakar: First World Festival of Negro Arts. Mount, Marshall. 1973. African Art: The Years Sinice 1920. Bloomington: Indiana University Press. Peek, Philip. 1985. "Ovia Idah and Eture Egbede: Traditional a r t i c I e s Nigerian Artists," African Arts 18, 2:54-59. Povey, John. 1991. "The Art of the Shona Carvers," in Zimbabzwe Shona Sculptiure: Spirit ii Stone. Exhibition catalogue, pp. JEREMY COOTE is Assistant Curator at the Pitt Rivers Museum, University of 16-22. Cleveland: The Museum of Natural History. Oxford. He was co-editor with Anthony Shelton of Anthropology, Art, and Aesthetics Rosen, Norma. 1989. "Chalk Iconography in Olokun Worship," (New York: Oxford University Press, 1992), and Area Editor for the Arts of Africa and Africani Ar ts 22, 3:44-53, 88. Schneider, Arnd. 1997. "Uneasy Relationships: Contemporary Oceania at The Dictionary of Art (New York: Grove, 1996). Art and Artists," JouLrnal of Material Culture 1, 2:183-210. Steiner, Christopher. 1997. "Introduction to Part IV: Arts and KATHY CURNOW, Associate Professor of Art History at Cleveland State University, Aesthetics," in Perspectives oii Africa: A Reader in Ciulture, has been conducting fieldwork in Benin annually since 1992 and is currently there on History, anld Representation, eds. R. Grinker and C. Steiner, pp. 424-32. Oxford: Blackwell. a Fulbright grant. She is co-authoring a book on Benin art with Barbara Blackmun. Tong, Raymond. 1958. Figu.res ini Ebony: Past and Preseint in a West African City. London: Cassell. ELIZABETH EDWARDS is Assistant Curator at the Pitt Rivers Museum, University of Vogel, Susan. 1991. Africa Explores: 20th Centiury Africani Art. Munich: Prestel. Oxford. She was the editor of Anthropology and Photography (New Haven: Yale Uni- Willett, Frank. 1971. Africian Art: An Introduiction. New York: versity Press, 1992). Praeger. Zilberg, Jonathan. 1995. "Shona Sculpture's Struggle for CHARLES GORE, a lecturer in social anthropology at the City Literary Institute in Authenticity and Value," Miiselnum Atnthropology 19,1:3-24. London, received his Ph.D. in art history from the School of Oriental and African Studies. University of London, in 1995. He is the author of "Ritual, Performance and VOGEL: Notes, fromi page 77 the Media in Urban Contemporary Shrine Configurations in Benin City, Nigeria" (ASA

1. Something similar of course occurs in some measure with Monographs, forthcoming). all religious art, not just Baule or African art. 2. Fernand Lafargue, "La Parole chez les Peuples du Groupe JOSEPH NEVADOMSKY is Professor of Anthropology at California State University, Akan du C6te d'Ivoire" (L'Arbresle, France: Communication Fullerton, and Lecturer in African Art History at the University of Southern California. pour les Langues Religieux en Afrique Noire, 1971). Mimeo. 3. Teresa Brennan and Martin Jay, eds., Vision in Conitext: JOHN PICTON teaches African art history at the School of Oriental and African Historical and Conteinporary Perspectives on Sight (New York and London: Routledge, 1996) is an interesting source for Studies, University of London, and is a consulting editor of Afi-can Arts. Previously he contrasting beliefs outside of Africa. worked at the British Museum (1970-79) and in the Department of Antiquities of the 4. Great numbers of pilgrimage traditions in different parts of the world are founded on this belief. Federal Government of Nigeria (1961-70). 5. Cesare I'oppi, "Sigma! The Pilgrim's Progress and the Logic of Secrecy," in Mary H. Nooter, Secrecy: African Art Tihat SUSAN MULLIN VOGEL was the Henry J. Heinz II Director of the Yale University Art Colnceals and Reveals (New York: The Museum for African Art, Gallery from 1994 to 1997. She is the founding director of the Museum for African Art 1993), pp. 196-203. 6. Miniature masks that decorate pulleys, mallets, etc., are and was curator of African art at the Metropolitan Museum of Art. She is also a con- considered harmless, because they aren't actual, potent sulting editor of African Arts. masks, and because women are assumed to be ignorant of what they represent. 7. The exception may be newborns, who are normally kept in the house during their first week because it is considered bad departments to have too many people looking at them. But the conse- quences of their being looked at "too much" are not explicit, and I found no other instances where people feared the gaze DAN BEN-AMOS is Professor in the Department of Folklore and Folklife, University of others on themselves or their possessions. of Pennsylvania. 8. Theft is sometimes used as an excuse to avoid sharing money from the sale of objects. It is hard to know how often BARBARA WINSTON BLACKMUN, Professor of Art History at San Diego Mesa this happens. 9. Besides being expensive and nearly impossible to obtain, College, is co-author (with Kathy Curnow) of a forthcoming book on the art history eyeglasses are still considered ridiculous-looking by many of the Benin kingdom and its neighbors. Baule people. Visits to doctors for any reason other than an emergency are rare, and cataract operations are almost JEAN M. BORGATTI teaches African art history at Clark University in Worcester, unheard of in the villages. In any discussion of the visual arts Massachusetts. in Africa, it is important to remember that many Africans simply cannot see as clearly as most Americans expect to throughout their lives. DONALD J. COSENTINO is Professor of African and Diaspora Literature and Folk- 10. Again, this form of private and personal memory con- lore at UCLA, where he chairs the Folklore Program, and co-Editor of African Arts. trasts with the collective historical memory described by Mary Nooter Roberts and Allen Roberts in Menmory: Lluba Art MICHAEL D. HARRIS is Assistant Professor of African and African American Art and the Makinig of History (New York: The Museum for African Art, 1995). Both kinds of memory are integral to the lives of History at the University of North Carolina at Chapel Hill. He is also a consulting edi- artworks in their respective African traditions, but in com- tor of African Arts. pletely different ways. Probably the Baule kind of private memory of works of art exists among the Luba, and the Luba JUDITH PERANI is Professor of Art History at Ohio University in Athens. historical memory exists among the Baule, though not in con- nection with works of art. 11. It is a priority to light the room in which parents and babies NORMA ROSEN, an Olokun priestess, has taught at San Diego State University sleep, as security against snakes and rodents. In the past, this and the University of Benin. She lives in Long Beach, California, where she heads was accomplished by stringing dry seeds from the ploplou ma her own textile firm. tree on a stalk, placing this stalk in a small bowl, and lighting the top one. This is said to have burned all night. 12. Typical rules forbid the following activities at night: gath- P. L. SHINNIE is Professor Emeritus in the Department of Archaeology, The University ering medicinal leaves, cooking, and throwing out floor of Calgary. sweepings; women must not pick up a burning branch, and no one may carry a lighted torch. Work that is permitted at DAVID WELCH is Associate Professor in the School of Contemporary Arts at Ramapo night includes washing dishes or babies and heating bath water. College. where he has taught African and African-American music and ritual perfor- 13. The phases of the moon are watched by all, and every mance for almost twenty-five years. month, the day following the appearance of the new moon is a day of general rest. DANIEL WHISTLER, a filmmaker with fifteen years' experience in broadcast docu- mentaries, is a lecturer in visual communication at the University of Central England BEN-AMOS: Notes fromin page 88 and a part-time lecturer in culture and communication at Warwick University. He is also studying social anthropology at Trinity College, Cambridge. 1. Millar dates the initial stages of the cult's formation to 1944, while the Report of the Commiiiissioii refers to Mr. Sunday Omogiavwi, who testified "that in 1947 he and three others formed the Aiwerioba Cult and the juju they served, which

african arts* autumn 1997 9 african arts - autumn 1997 95

This content downloaded from 165.123.108.206 on Wed, 30 Aug 2017 15:00:54 UTC All use subject to http://about.jstor.org/terms he says hehe inheritedinherited fromfrom hishis father,father, later later acquired acquired the the name name Egharevba, Jacob.Jacob. 1953. 1953. A A Short Short History History of of Beilili. Beilili. 2nd 2nd ed., ed., Owegbe" (Ministry(Ministry ofof InternalInternal Affairs,Affairs, 1966: 1966: 26). 26). Benin City. $1.20 per per word, word, minimum minimum $30. $30.African African Arts boxArts number box number $15. $15. Egharevba, Jacob. 1960. A Short History of Beiin. 3rd ed., References citedcited Classified ads ads must must be prepaid.be prepaid. Ibadan: Ibadan University Press. Bradbury, R.R. E.E. 1957.1957. TheThe BeninBenin KingdomKingdom and and the the Edo-Speaking Edo-Speaking Egharevba, Jacob. 1968. A Short History of Benin. 4th ed., Peoples ofof South-WesternSouth-Western Nigeria.Nigeria. EthnographicEthnographic Survey Survey of of Ibadan: Ibadan University Press. BOOKS Africa. WestWest Africa,Africa, pt.pt. 13.13. London:London: InternationalInternational African African Eisenhofer, Stefan. 1994. "Was the Report of James Welsh Institute. (1588) the First Account of Afro-Portuguese Ivory Carving African, ethnographic, and ancient art. Important, Egharevba, Jacob. 1960. A Short History of Beninii. 3rd ed. in Benin City?," History in Africa 21:409-12. rare, and out-of-print titles bought and sold.Ibadan: Ibadan University Press Fagg, William and Eliot Elisofon. 1958. The Sculptture of Africa. Catalogues available upon request. Further Forde, de- Daryll and P. M. Kaberry (eds.). 1967. West African London: Thames & Hudson. tails from: Michael Graves-Johnston, 54, Stock- Kingdoms in the Nineteenth Century. London: Oxford Fagg, William. 1963. Nigerian Images. London: Praeger. well Park Road, P.O. Box 532, London SW9 ODR. University Press. Ingram, Anthony. 1589. "The Voiage set forth by M. John Tel. 0171-274-2069, fax 0171-738-3747. Igbafe, P. A. 1972. Obaseki of Benin. African Historical Newton, and M. John Bird marchants of London to the Biographies. London: Heinemann. kingdome and citie of Benin in Africa," in The Principal Igbafe, P. A. 1979. Benin under British Administration: The Navigations...of the Eniglish Nation, ed. Richard Hakluyt EMPLOYMENT OPPORTUNITY Impact of Colonial Rule on an African Kingdom 1897-1938. (1926) 4:298-300. Glasgow: James MacLehose & Sons. Assistant/Associate Curator (Modern African IbadanArt), History Series. New York: Humanities Press. Jones, Adam and Beatrix Heintze. 1987. "European Sources for Sub-Saharan Africa before 1900: Use and Abuse," National Museum of African Art, Smithsonian Ministry of Internal Affairs and Information. 1966. "Statement by the Government of the Mid-Western Group of Paideuma 33:1-17. Institution, Washington, D.C. This position has Provinces," May 30, included in the Report of the Commission Luschan, Felix von. 1919. Die Altertuiiier von Benin. Berlin: primary responsibility for the on-going exhibition Appointed to Enquire in the Owegbe Cult. Benin City. Staatliche Muzeen zu Berlin. program in the museum's gallery devoted to Roth, H. Ling. 1968. Great Beiini: Its Customs, Art and Horrors. Rubin, Arnold. 1970. "Review of Frank Willett, Ife in the modern African art as well as research and col- New York: Barnes & Noble. 1st ed. 1903. History of West African Scultpture," Art Bulletin 52:348-54. lection development. The position requires Ryder, A. F. C. 1984. "From the Volta to Cameroon," in General Ryder, A. F C. 1965a. Materials for West African History in knowledge of and experience in the field of History of Africa IV: African fronm the Tzwelfth to the Sixteenth Portiuguese Archives. London: Athlone Press. Ryder, A. F C. 1965b. "A Reconsideration of the Ife-Benin African art history and special competence in Century, ed. D. T. Niane. Berkeley: University of California Press. Relationship," Jourinal of African History 6, 1:25-37. the area of modern African art. This is a federal Ryder, A. F C. 1969. Benin and Europeans 1485-1897. New Ryder, A. F C. 1969. Benin aind the Europeans. London: civil service position GS 11/12/13. Salary range: York: Humanities Press. Longmans. $38,330-$54,629. For an application package, Thompson, Robert F. 1966. "An Aesthetic of the Cool: WestStruck, Bernhard. 1923. "Chronologie der Benin Altertumer," call the Smithsonian Institution Jobline 202-287- African Dance," African Forlum 2, ii:85-102. Zeitschrift fur Ethnologie 55:113-66. 3102, press 9, and request announcement von Sydow, Eckart. 1923. "Zur Chronologie der Benin-Platten: #97RR-1123. For more information, call the Ein Kunstgeschichtlicher Versuch," Jahresbericht des Wurttem- National Museum of African Art 202-357-4600 BLACKMUN: References cited, from page 91 bergischen Vereinis fiir Handelsgeographie 50:121-28. Stuttgart. Teixeira da Mota, Avelino. 1975. "Gli Avori Africani nella ext. 205. Applications must be postmarked Bassani, or Ezio and William Fagg. 1988. Africa aind the Renaissance: Documentazione Portoghese dei Secoli XV-XVII," Afiica received no later than October 24, 1997. Equal Art in Ivory. New York: The Center for African Art. 30, 4:580-89. Rome. Opportunity Employer. Ben-Amos, Paula. 1971. "Social Change in the Organization Tunis, Irwin. 1979. "Origins, Chronology and Metallurgy of of Wood Carving in Benin City, Nigeria." Ph.D. disserta- the Benin Wall Bas-Reliefs." Thesis presented to the tion, Indiana University. University of London. EMPLOYMENT OPPORTUNITY Blackmun, Barbara. 1984. "The Iconography of Carved AltarTunis, Irwin. 1981. "The Benin Chronologies," Africani Arts 14, Associate Curator (Classical African Art), Tusks Na- from Benin..." Ph.D. dissertation (3 vols.), UCLA. 2:86-87. tional Museum of African Art, Smithsonian Blackmun, Insti- Barbara. 1988. "From Trader to Priest in Two Tunis, Irwin. 1983. "A Note on Benin Plaque Termination tution, Washington, D.C. This position has Hundred Years: Transformation of a Foreign Figure on Dates," Tribus 32:45-53. Benin Ivories," Art Journoal (summer) 128-38. Tunis, Irwin. 1984. "Benin Art Styles," Baessler Archiv responsibility for research, publication, exhibi- Bradbury, R. E. 1973. Belriln Studies. London: Oxford Uni- 32:23-68. tion and collection development and public pro- versity Press. Welsh, James. 1589. "A Voyage to Benin beyond the Countrey gramming related to exhibitions. The position Curnow, Kathy. 1983. "The Afro-Portuguese Ivories: Classifi- of Guinea, set foorth by Master Bird and Master Newton requires knowledge of and experience in African cation and Stylistic Analysis of a Hybrid Art Form." Ph.D. Marchants of London, with a shippe called the Richard of art history and museum policies and practices. dissertation, Indiana University. Arundell begun in the yeere 1588" in The Principal Naviga- This is a federal civil service position GS-12/13. Dark, Philip J. C. 1973. An Introductionl to Benin Art anid Tech- tions...of the English Natiion, ed. Richard Hakluyt (1926) Salary range: $45,939-$54,629. For an applica- nology. London: Oxford University Press. 4:291-97. Glasgow: James MacLehose & Sons. Willett, Frank. 1967. Ife in History of West Africani Sculptuire. tion package, call the Smithsonian Institution Egharevba, Jacob. 1936. A Short History of Benin1. 1st ed., Lagos: Church Missionary Society. London: Thames & Hudson. Jobline 202-287-3102, press 9, and request announcement #97RR-1124. For more information, call the National Museum of African Art 202- 357-4600 ext. 205. Applications must be postmarked or received no later than October 24, 1997. Equal Opportunity Employer. A D V E R T I S E R I N D E X

AFRICAN TRIBAL ART Color photo catalog available-$5.00 (refundable Aboriginals,Aboriginals, Art Artof the of First the Person, First Person, Charles Jones Jones African African Art, Art,Wilmington, Wilmington, NC 11 NC 11 Sanibel Island, FL 85 with purchase). Kingdoms of Africa, P.O. Box Natalie Knight, Knight, Johannesburg, Johannesburg, South SouthAfrica, Africa,and and 1035, Cumming, GA 30028. Fax: 770-888-1502. Affrica, Washington, DC 11 Toronto, Canada 6

Africa Place, So. Strafford, VT 83 Susan Lerer, Images of Culture, Los Angeles, CA 8 AFRICAN TRADITIONAL AND MODERN ART African Art, Yanzum Collection, Atlanta, GA 86 Charles D. Miller Ill, St. James, NY 7 Lamidi Fakeye, sculpture, Horse rider for chief Olu Akinkuigbe, 1961; Bini brass figure of Oba, Ancestral Spirits 15 Alain de Monbrison, Paris, France 1960; Babanki Royal throne, 1952; set three Joan Barist Primitive Art, Short Hills, NJ 9 inside back cover Nsoh elders, 1974; Yoruba thorn carvings Contemporary African Art, New York, NY 4 Paolo Morigi Gallery, Lugano, Switzerland 10 (Austin lorry with twenty-seven figures) 1959; two seven-foot plaques of Babanik-Tungo royal Coyote's Paw Gallery, St. Louis, MO 86 OAN, Oceanie-Afrique Noire, New York, NY 13 palace, 1953. Call 503-236-3090 for photo- Dabl's Perette's Gallery, Detroit, Ml 83 Pace Primitive, New York, NY inside front cover graphs and information. Duke University Press, Durham, NC 15 Sana Gallery, Solana Beach, CA 4

ARTIFACTS Ethnix, New York, NY 85 Merton D. Simpson Gallery, New York, NY 1 One lower grinding plate with upper grinding Gallerie La Taj, Alexandria, VA 14 Tawa, New York, NY 14 stone, four Acheulian hand-axes, assortment of Gallery DeRoche, San Francisco, CA 14 Totem Meneghelli Galleries, Johannesburg, arrowheads from various tribes. Call Shawn at South Africa 7 403-288-1659, or write 7803 Bowcliff Cr. N.W., Gallery Walu, Zurich, Switzerland 5 Calgary, Alta Canada T3B-2S6. Charles S. Greco 84 Tribal Reality, New York, NY 11 Philippe Guimiot, Brussels, Belgium UCLA Fowler Museum of Cultural History, AFRICAN ART outside back cover Los Angeles, CA 12

AFRICAN CONNEXION free color catalog. Hamill Gallery of African Art, Boston, MA 85 University of South Florida, Tampa, FL 14 Features masks, sculptures, weaponry, wood Harmattan, Washington, DC 84 carvings, jewelry, musical instruments, home Kathy Vanderpas * Steven Vanderaadt, Rotterdam, Holland 15 decor and and more. more. Antiquities Antiquities details detailsavailable available Hemingway African Gallery, New York, NY 85 upon request. request. All Allitems items 100% satisfaction100% satisfaction guar- guar- Indigo, Minneapolis, MN 86 Nils v. d. Heyde, Hamburg, Germany 4 anteed. Please call 800-786-5449 or write P.O. International Warri Society, New York, NY 13 T.G.B. Wheelock, T.G.B.W. Inc., New York, NY 7 Box 608, Dept. 80, Ferndale, CA 95536.

96 african arts autumn 1997

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