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Art and Spirituality: the Ijumu Northeastern-Yoruba Egungun

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Art and Spirituality: the Ijumu Northeastern-Yoruba Egungun Art and Spirituality: The Ijumu Northeastern-Yoruba Egungun Item Type text; Electronic Dissertation Authors Famule, Olawole Francis Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 07/10/2021 16:10:20 Link to Item http://hdl.handle.net/10150/195753 ART AND SPIRITUALITY: THE IJUMU NORTHEASTERN -YORUBA EG ÚNG ÚN by Olawole Francis Famule Copyright Olawole Francis Famule 2005 A Dissertation Submitted to the Faculty of the DEPARTMENT OF ART In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY WITH A MAJOR IN HISTORY AND THEORY OF ART In the Graduate College THE UNIVERSITY OF ARIZONA 2005 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Dissertation Committ ee, we certify that we have read the dissertation prepared by Olawole Francis Famule entitled Art and Spirituality: The Ijumu Northeastern -Yoruba Egungun and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of Doctor of Philosophy History and Theory of Art ________________________________________________Date: 11/16/05 Paul E. Ivey ________________________________________________Date: 11/16/05 Aribidesi A. Usman ________________________________________________Date: 11/16/05 Julie V. Hansen ________________________________________________Date: 11/16/05 Keith McElroy Final approval and acceptance of this dissertation is contingent upon the candidate’s submission of the final copies of the dissertation to the Graduate College. I hereby certify that I have read this dissertation prepared under my direction and recommend that it be accepted as fulfilling the dissertation requirement. ________________________________________________Dat e: 11/16/05 Dissertation Director: Dr. Paul E. Ivey 3 STATEMENT BY AUTHOR This dissertation has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this dissertation are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: Olawole F. Famule 4 ACKNOWLEDGE MENTS First and foremost, I specially thank Dr. Ivey not only for directing this Dissertation and believing that I would complete it in Fall Semester 2005. What is more, his unflinching supports as well as with those thought provoking critiques resonate from his wealth of experience on modern art historical issues. The art and spirituality, theme for this dissertation, was born in Spring Semester 2004, in his seminar class entitled: Issues in Contemporary Theory and Criticism. Thank you Dr. Ivey. My first tête -à-tête encounter with Dr. McElroy, another member of my Dissertation Committee, was in 2002, when he co -supervised my M.A. thesis. I still remember vividly, how he massacred with his characteristic rainbow color pens, what I thought was my thesis final draft. Prior to this time, my thought about his polychromatic markers, which he habitually displays in his front pockets, was they were merely for decoration. Thank you Dr. McElroy, for supervising this work meticulously. Also a member of the Commit tee, Dr. Julie Hansen is not only a caring big sister. She is as well a talented teacher and great scholar. My first contact with her was in Spring Semester 2004, when I felt the need to gain more than an elementary knowledge about museum practice. I appro ached her and she agreed that I take an independent study on this subject. Thank you Dr. Hansen. Next is Dr. Usman who resides in Phoenix, where he teaches at the Arizona State University. In spite of knowing fully the hectic tasks that awaited him if I register for a class with him and serving as a member of my doctoral committee, the Professor promptly agreed to both of my requests. Thank you Dr. Usman. How should I forget the morale and financial supports enjoyed from the faculty of the Departm ent of Art History? Along these lines, I sincerely recognize Drs. Julie Plax, Sarah Moore, Pia Cuneo, Stacie Widdifield, Therese Martin, Paul Ivey, Keith McElroy, Julie Hansen, and Jennifer Vigil for always being there for me. Su rely, I cannot thank you en ough. To my Tucson connections, Bayo Ijagbemi, Lateef Mustapha, Brother Kwevi, Ansem Omoeke, and Ivonne Garcia, I say a big thank you. Finally, this acknowledgement is incomplete without recognizing the supports received from my Ijumu -Yoruba informan ts. I deliberately reserve this last space for you, following the Yoruba belief: Eegun nla nii gbeyin Igbale (‘the most spiritually powerful masquerades perform the last ritual at the masquerade groves’). This wonderful people include Bayo Ijagbemi; the la te Chief Ijagbemi and his loving wife; Brother Dare Oguntebi and his family; Mr. Bamidele Kaseem; Mr. Dayo Peter; Mr. Amuleya Oloro; Pa Onimodamori Ayinmode; Chief Raphael Ibimode; Alhaji Sunmonu Ibrahim, the late Pa Obarun; Chief Kaseem Omobewojo, and Chief Akinyemi Aodu Ibitoye. Others are Chief S.A. Olugbami, Chief Otitonaye Meseru; Chief Samuel Olorunmola Babalola; Chief J.A. Jemirin; Mr. Olusegun Igunnu; Chief Mrs. Eleusu; Chief Olore; Chief Oludoyi Omole; the late Lt. Gen. Rufus Kupolati; Oba (king) S.I. Hambolu (The Olu of Ekinrin -Adde), and Oba (king) Gideon Olorunmola Esemikose (The Olu of Iyah -Gbedde). Èé gbó. Èé tó. Èé pé. Nítorí wípé: Pé -pé-pé níí se ní’lé Aró ; t’Akese níí se láwùjo Òwú (‘May you li ve and last long’). 5 DEDICATION This Dissertation is dedicated to Professors Julie Pla x and Dennis Jones, both of the School of Art, the University of Arizona, for rescuing me when the human -inspired tornado was raging . I thank you from the bottom of my heart. Olawole F. F amule. 6 TABLE OF CONTENTS LIST OF ILLUSTRATIONS……………………………………………………………...7 LIST OF MAPS… .……………………………………………………………………....11 ABSTRACT…….………………………………………………………………………..12 CHAPTER I: Maps and Introduction……………………………………………………14 CHAPTER II: African Art and Spirituality: The Yoruba Example……………………...40 CHAPTER III: Cultural Contacts at the Niger -Benue Confluence Region………...........75 CHAPTER IV: The Ijumu Northeastern -Yoruba: History of Origin and Religious Beliefs and Pr actices .………………………………………...93 CHAPTER V: The Ijumu Northeastern Yoruba Egungun I: Spiritual Concepts and Perfo rmance Contexts .………………………...124 CHAPTER VI: The Ijumu Northeastern -Yoruba Egungun II: Iconographical Analysis .………………………………………………183 CHAPTER VII: The Ijumu Northeastern -Yoruba Egungun III: Aesthetic Imp lic ations.………………………………………………214 CHAPTER VIII: Summary and Conclusion………………………………………........225 APPENDIX A: ILLUSTRATIONS: ……...……………………………………………234 REFERENCES…….……………………………………………...……………………308 7 LIST OF ILLUSTRATIONS Figure 1.1: Chief Jemirin (of Iyah -Gbedde) showing the author his family Aso- Ipo….234 Figure 1.2: Akorowo Epa masquerade of Iyah- Gbedde………………………………..235 Figure 1.3: An Ekinrin -Adde Egungun called Onigabon………………………………236 Figur e 1.4: An Iyamoye Egungun………………………………………………………237 Figure 1.5: An Ekinrin -Adde Egungun…………………………………………………238 Figure 1.6: Egbedda -Egga masquerade costumes made of raffia fibers and Aso- Ip o.....239 Figure 1.7: An Epa masquerade of Iyah -Gbedde called Ate ………………………...…240 Figure 1.8: Iyamoye Egungun…………………………………………………………..241 Figure 1.9: An Ijumu Egungun shrine emblems ………………………………………..242 Figure 2.1: The late Elder Obarun (Aaye Clan’s Egungun leader), Iyamoye ………......243 Figure 2.2: Chief Aodu Ibitoye (the Eleti of Iyamoye) ………………………………...244 Figure 2.3: Iyamoye Egungun in procession…………………………………………...245 Figure 2.4: An Iyamoye Egungun masquerade …………………………………………246 Figure 2.5: Iyamoye Egungun masquerades ……………………………………………247 Figure 2.6: Ina-Oko (of Ekinrin -Adde) holding in his hands, a pair of fans…………...248 Figure 2.7: Onigabon masquerade of Ekinrin -Adde ……………………………………249 Figure 2.8: Ogalata display for the late Chief Olugbami’s funeral , Ekinrin- Adde…….250 Figure 2.9: A close view of Ogala ta display , Ekinrin -Adde…………………………...251 Figure 3.1: The carpenter removing the Aso- Ipo from the late Chief Olugbami’s house roof, Ekinrin -Adde…………………………………………………..252 Figure 3.2: An Aso- Ipo type called Abata ……………………………………………...253 8 LIST OF ILLUSTRATIONS —Continued Figure 3.3: A bundle of Aso- Ipo that comprises Ifale, Oja , and Ebe types …………….254 Figure 3.4: The late Chief Olugbami’s title symbols displayed on top of the st ool (Otita )……………………………………………………………...…255 Figure 3.5i: Iye -Mole making a ritual offering of kola nut to both Imole (Earth Goddess) and the spirit of the late Chief Olugbami ………………..256 Figure 3.5ii: Iye -Mole with her Imole group member s dancing ………………………..257 Figure 3.6: Ina-Oko (of Ekinrin -Adde) paying homage to the spirit of the dead ………258 Figure 3.7: Ina-Oko and Onigabon masquerades emerge from the forests of Egungun. They are accompanied by a sea of heads……………… ………..259 Figu re 3.8: Ekinrin -Adde Egungun Drummers (Onilu -Egungun)……………………...260 Figure 3.9: Bata and Dundun drums of the Yoruba of Southwestern Nigeria………....261 Figure 4.1: Ina-Oko masquerade is dancing ……………………………………………262 Figure 4.2: A ritual sacrif ice
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