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[1] Ui Thesis Olasupo A.A Yoruba 2015 Full Work.Pdf i YORÙBÁ TRADITIONAL RELIGIOUS WOOD-CARVINGS BY AKANDE ABIODUN OLASUPO B. A. (Hons.) Fine Arts ( ), M. A. Visual Arts (Ibadan), PGDE (Ado-Ekiti) A Thesis in the Department of VISUAL ARTS Submitted to the Institute of African Studies in partial fulfilment of the requirement for the Degree of DOCTOR OF PHILOSOPHY of the UNIVERSITY OF IBADAN UNIVERSITY OF IBADAN LIBRARY MAY 2015 ii ABSTRACT The Yorùbá -Yorùbá N O - - Yorùbá traditional religion and its attendant practice of wood-carving. Existing studies on Yorùbá wood-carving have concen -Yorùbá existed independently for a long time. This study, therefore, identified extant Yorùbá examined areas of divergence in the artistic production of the people. - wood-carvers, priests and adherents of some Yorùbá traditional religion who use wooden paraphernalia in their worship. Direct observation was used to collect data on iconographic features of wooden religious paraphernalia such as ọpón-Ifá (divination board), agere-Ifá (palm-nut bowl), ìróké-Ifá (divination board-tapper), osé-Ṣà Ṣà ‟ ère-ìbejì (twin figurines), and egúngún and gèlèdé masks. The interviews were content-analysed, while the paraphernalia were subjected to iconographic, semiotic and comparative analyses. UNIVERSITY OF IBADAN LIBRARY Opón-Ifá, agere-Ifá, ìróké-Ifá, osé-Ṣà and ère-ìbejì Gèlèdé ìróké-Ifá, agere-Ifá and osé-Ṣà shared similar iconographic fe by the top, middle and base sections. Their middle sections bore a variety of iii images, while the top and base sections were fixed. In all the three communities, the face of Èsù, usually represented on ọpón-Ifá, was the only constant feature on divination trays. Other depictions on the tray varied from zoomorphic and anthropomorphic to abstract motifs. The gèlèdé had two sections: the lower section had the image of a human head and the superstructures bore a myriad of images. The kneeling nude female figure, commonly depicted in ìróké-Ifá, agere-Ifá, osé-Ṣà and Èsù figures, symbolised the pain and travails of the woman during childbirth, an important moment associated with destiny. The face of Èsù on ọpón-Ifá was indicative of the mythical relationship between Èsù and Ifá, while the representations on gèlèdé masks demonstrated the extraordinary powers believed to be possessed by women. Points of divergence included the painting of ọpón-Ifá and gèlèdé The Yorùbá religio iconographic features and had similar semiotic connotations. They have long been represented with fixed graphical symbols and have thus attained the status of icons. Key words: Yorùbá wood-carving, Iconography, Semiotic meanings, Paraphernalia, Icon Word count: 484 UNIVERSITY OF IBADAN LIBRARY iv ACKNOWLEDGMENT First, my deepest appreciation goes to Almighty God who made this research work possible. This work represents the best of me at this point of my career as an artist and art historian. However, it would have been impossible to accomplish such a great task if I had not been blessed with one of the finest teachers of African art history, Dr. Ohioma Ifounu Pogoson, who supervised and mentored me. His knack for thoroughness is what made this work successful. He also exposed and taught me to applying and writing for international conferences and grants, many (China, Switzerland, France, and Cameroun, among others) of which I won on merit. Writing those proposals helped me to explore the details of my research, to see the traditional religion objects I was dealing with in the light of other disciplines and develop my writing skills. I will forever be grateful. I am very grateful and thankful to all the distinguished contributors to this research. This work would not have seen the light of the day but for you all. Therefore, I thank Oba Adetutu Akenmu (Onisabe of ), Messrs. Kabir (my field assistant and translator at ), Marcus (the secretary to the Onisabe of ), Abiodun Janvier (secretary to the Alaketu of Ketu) and Akowe (the curator of the Museum of , ). My special thanks also goes to Odesola Olajide Odekunle (carver), Olufemi Adebayo Alaaye (carver), Folorunso Adebayo Alaaye (carver), Lokossou Eloi (carver) and Okoube Maloman (carver). I also thank Iba Oyekotan ( ) and Chief Olubuku ( ) and others. M Y ‟ mmended and appreciated. All through the course of my writing this thesis, he helped me in reading through and editing it. I am highly grateful. I must appreciate the suggestions of Dr. Samuel, Dr. Ayo Adeduntan and Mr. Benson Eluma, all of theUNIVERSITY Institute of African Studies. OF Dr. SamuelIBADAN created time LIBRARY for me out of his very tight schedule, thank you. I owe Oloye Diipo Gbenro and Dr. W. Arinde great deal of appreciation for their moral and academic supports when needed. Oloye Gbenro introduced me to a number of diviners in Isale-Oyo and he himself proved to be a repository of knowledge in Yoruba cultural practices. Dr. Arinde helped me a whole lot with the location of carvers and towns in Ekiti and Igbomina regions. I must acknowledge the genuine support of Dr. Akin v Adetunji, who got relevant books for me from America and gave them to me, free. I appreciate the kind gesture of Dr. Aremu G. B., who gave me a number of reading materials on Yorùbá history and loaned me a large number of African Art journals in his library. Thank you, sir. I also thank Baba Areo, A. A. and Mr. Makinde, A. S for caring to ask about the progress of my doctoral work from time to time. The contributions of my seniors, colleagues and friends cannot also be overlooked, I thank Messrs Alamu, T. A.; Ajala, P. A.; Afolabi, A. A.; Kolawole, S. K.; Lamidi, Abideen; Salawu, I. K; Ayinde, J. and Bello, Mickey. I thank Mrs. Oparinde, Mrs. Tijani, Mrs. Adeleke, Mrs. Olaniyan, and the Omorinkoba family as a whole for their immeasurable support at the very times I needed them. I appreciate the strong support of Mrs. Kuteyi, I. O. and Pastor and Mrs. Odukoya who were „ ‟ and spiritually down. I must appreciate my brother, Dr. Alaba Olanbiwonninu Akande who kept calling me from London, asking about my Ph.D programme. Special thanks goes to my brother, Femi Akande, who on my visit to his residence in Magodo, Lagos, gave me money with which I bought a digital camera and a few other items I needed for my first trip to Atakpame in Togo for my field work. He again at the end of my programme gave me some amount of money with which I did some photocopies and soft binding of my project. I thank you all. Lastly but, most certainly, not the least, I thank my wife (Omobolanle Kikelomo) and children (Ifeoluwa, OlaobaJesu and Niniola) for supporting and bearing with me all through the course of this programme. I deprived them of my time, money and attention in order to push this programme forward. For more than seven years, I deprived them the use of our “ room,” where I kept my books and did my reading. My wife is particularly highly appreciated for creating time and being patient to listen to my rehearsals in preparation for myUNIVERSITY seminars. I thank them OFall for IBADAN bearing the brunt LIBRARY of the deprivations uncomplainingly. If by chance I failed to mention any person who has contributed in one way or the other to the success of this research work, I ask that they should please pardon me. It is inadvertent. vi CERTIFICATION I certify that this work was carried out by AKANDE, Abiodun Olasupo in the Institute of African Studies, University of Ibadan, Ibadan, Nigeria. ___________________________ Supervisor O. I. Pogoson B.Ed. Fine Arts, (Benin) M. A., Ph.D Art History, (Ibadan) Associate Professor of Art History Institute of African Studies University of Ibadan, Ibadan Nigeria UNIVERSITY OF IBADAN LIBRARY vii DEDICATION To the memory of my father MOSES OLAIWOLA AKANDE mọ oníj ésún ọba níbòkun mọ aláràa gbàyídá, mọ ayọ sí nú gbé dara dara mọ afínjú wọjà kí b ùn pa rùs rùs bùn rùs rùs ni yio r rù afínjú wolé Sùn re o UNIVERSITY OF IBADAN LIBRARY viii Table of Contents Title page................................................................................................ i Abstract ................................................................................................ ii Acknowledgement.................................................................................. iv Certification............................................................................................ vi Dedication.............................................................................................. vii Table of Contents .................................................................................. viii List of Plates .......................................................................................... xi List of Figures ...................................................................................... xvii List of Tables ....................................................................................... xviii Chapter One: Introduction................................................................. 1 Statement of the Problem ...................................................................... 12 Objectives of the Study ......................................................................... 14 Scope of the Study ............................................................................... 16 Significance of the Study ..................................................................... 17 Chapter Two: Literature Review ....................................................... 26 Traditional origin of Yorùbá people ...................................................... 26 Migrations of Yorùbá people:
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