Yoruba twins, IBEJI

Ijebu Ode male/female pair

Much of the work for this exhibition has been carried out by the twelve students in my spring, !!" seminar on Yoruba twin figures# $he students paired up, one graduate student with one undergraduate, and then chose a topic to work on together# $he topics included Yoruba aesthetics, the history of twins, the carving of the ere Ibe%i, the materials used by the carvers and owners, the regional styles, Yoruba religion, and the prayers and offerings associated with twins, and more# $he text panels on the walls of the exhibit have all been written by the students, whose names follow the texts# &uring the semester the seminar visited 'rofessor (imon)s home several times to look at and handle the ere Ibe%i, to discuss their work, and to identify ob%ects on which they could focus# (tudents and faculty passed Ibe%i around the room, examined them closely, investigated the bases, additions, and pigments, and engaged in lively discussion about such issues as the tourist trade, the appropriation of other peoples) culture, the important of understanding art in context, the role of the artist in society, the role of the collector, and others# Each team presented their material at the end of the semester, and each has participated in the selection of the ob%ects and the editing of the texts# *e are all grateful to 'rofessor (imon for his hospitality, and especially for giving the students a chance to work directly with the works of art, an opportunity that few students anywhere in +merica are able to experience#

Introduction $he fine group of small figures you see here are ere ibe%i, ,images of twins,- from the Yoruba peoples of .igeria# Each of these figures, male or female, carved of wood, embodies the spirit of a deceased twin# Yoruba peoples have the highest rate of twin births in the world/ 0#1 01 per 2,!!! births# Because twins bring great good luck to their parents, they are honored, both living and dead# Yet twins are often frail at birth, and if one dies, Yoruba parents commission a small figure of the same gender# If both die, the parents commission two figures, carved to represent the twins as adults, with fully developed genitalia and breasts, elaborate hairstyles, and often with %ewelry and symbolic amulets# $he parents lavish attention on surviving twins and on twin images, applying a dark red cosmetic dye called camwood on the bodies, and dark blue indigo in the hair# $he figures are offered food3 when their faces become soiled they are washed with a handful of sand# 4ver decades of use this handling softens facial features and adds an accumulation of red camwood and indigo#

$hese figures belong to 'rofessor J# 5ichard (imon of the &epartment of 'sychology at the 6niversity of Iowa# 'rofessor (imon)s collection of ere ibe%i, assembled over the past decade, was the sub%ect of ,7ooking at Yoruba $win 8igures,- a class taught in the spring !!" semesterby 'rofessor 9hristopher &# 5oy#

Baba Magba female pair

Regional Styles of Ere Ibeji

The Yoruba occupy a large area of southwestern Nigeria that encompasses many di erse communities! "hileere ibeji ser e the same purpose throughout Yoruba country# car ing styles ary by city and region! Some cities ha e ery distincti e styles# while others are closely related to those of nearby towns! These styles ha e e ol ed o er the history of ere ibeji car ing# perhaps deri ing from the continuing traditions passed down from early master car ers in each city! Since the figures must be appro ed by the babalawo# or priest# of each city# a certain amount of uniformity is retained from generation to generation in $eeping with regional traditions! Nearly e ery feature of an ere ibeji figure# from hairstyle to base# can be used to help identify it as belonging to a particular city! The small region of Egba in southwest Nigeria is home to distincti e styles of ere ibeji# the most easily identifiable of which come from the large city of %beo$uta! The most prominent features of %beo$uta twin figures are the large hands# which join the body at the hip and are usually car ed with great detail# e en including fingernails! &oth male and female ere ibeji from %beo$uta often wear car ed s$irts# aprons# or shorts! The heads# hands# and feet are o ersi'ed# but the bodies are fairly naturalistic# with bent elbows and softly modeled musculature! The mouths bow upward into a smile# and the eyes are lidded at the top! In the smaller cities of southern Egba# twin figures are influenced by those of %beo$uta# sharing similar proportions but differing in hairstyle and typically lac$ing the distincti e clothing and hand position of the %beo$uta style! (ust south of Egba in the small area of Ijebu# where artists are $nown more for their metalwor$ than wood car ing# the local style is ery different! In the city of Iperu# the local style is more compact# lac$ing the negati e space that is a feature of ere ibeji from most other cities! The figures are rather stiff# with straight arms and legs! The bodies bend forward slightly at the narrow waists# below shortened torsos! )enitals are small# and faces linear and styli'ed! Occupying a substantial portion of north central Yoruba territory is the Oyo region# largest in both si'e and population and encompassing a great ariety of cities and local styles! In the south of Oyo lies the capital city of Ibadan! *ore abstract and geometric than most ere ibeji# those of Ibadan rely hea ily on pattern for aesthetic effect! The scarification on the faces and bodies of both se+es is prominent# and the bases are often patterned as well! "hile the bodies are rounded# the heads are almost rectangular in profile# and are ery styli'ed! The legs are e+tremely short and the genitals are prominent! The heads are ,uite large in proportion to the body and ha e ery geometric features! The mouth is about the same width as the nose# and the eyes are almond-shaped and outlined! Oyo .ity# located in south central Oyo# has a distincti e style of ere

ibeji influenced by the Igbu$e car ing house! These figures are instantly recogni'able by their distincti e hairstyles# each topped with four lobes# and their groo ed bases! The heads are o al and the features strong! In the eastern Oyo cities of Erin and Oshogbo# separated by only a few $ilometers# local car ers produce ere ibeji that are so similar as to be almost indistinguishable! Ere ibeji from Erin feature short legs# long arms# and sloped shoulders! /i$e the twin figures of Oyo .ity# the eyes bulge and the features are pronounced! The Oshogbo figures are ery similar# with slightly thinner nec$s and shorter arms! &ecause of their similarity# many figures cannot be identified as originating from one city or the other! Some twin figures are e+tremely difficult to classify into a particular style! 0igures that are car ed by amateurs or less-s$illed craftsmen# for e+ample# may fail to conform to the typical style! %lso# the mo ement of car ers from one region to another sometimes results in hybrid styles# as artists combine the style they ha e learned with that of a new locale! "ith new traditions and materials changing the way ere ibeji are produced and used# it is li$ely that new styles of twin figures will both supplement and replace the old# contributing to the constant e olution of %frican art! %n understanding of the styles produced by car ers of different cities and regions is essential in determining the pro enance of ere ibeji! Not only do they reflect car ing traditions of particular towns# but they can also re eal outside influences# such as the Islamic tirah car ed onto some ere ibeji! 1owe er# e en within cities#ibeji can ary greatly based on a number of factors# including the artist who car ed them# the time period in which they were made# and the family who commissioned them! This contributes to the richness# comple+ity# and indi iduality of Yoruba twin figures! Rachael &uc$les and Summer Trentin

&ibliography 2rewal# 1enry (ohn! %frican %rtistry3 Techni,ue and %esthetics in Yoruba Sculpture4 %n E+hibition of Yoruba %rt from the %rnett .ollection! %pril 567*ay 89# 5:;<! %tlanta3 1igh *useum of %rt# 5:;<! 1oulberg# *arilyn 1ammersley! =Ibeji Images of the Yoruba!= %frican %rts 6# 5 >%utumn 5:6?@3 8<-:8! Aolo# 0austo# and (ean 2a id! .atalogue of the Ibeji! Burich3 )alerie "alu# 8<<5! Stoll# *areidi# and )ert Stoll! Ibeji3 Bwillingsfiguren der Yoruba4 Twin 0igures of the Yoruba! Translatedby 2onald %rthur! *unich3 )! und *! Stoll# 5:;<! Cogel'ang# (ac,ues! Ere Ibeji3 &eelden an tweelingen# in het bij'onder an de

Yoruba an Nigeria! &erg en 2al3 %fri$a *useum# 5::D!

4ro
.ontinuity and .hange in Ere Ibeji

The traditional art form of ere ibeji seen in this e+hibition continues to be made by artists who ser e the community around them! These treasured figures are

still the pieces most sought after by collectors and museums today! 1owe er# in the twentieth century and beyond# new forms began to be used to fulfill the needs of ibeji and reflect the changes that ta$e place in e ery culture o er time! Some contemporary ere ibeji are car ed by the same artists who car e traditional ibeji figures! Smaller ere ibejiha e been created# usually re,uested by indi iduals for whom mobility is a concern! %ccording to scholar *arilyn 1oulberg# most traditional ere ibeji a erage about ten inches in height# arying slightly by region! Smaller figures can be about half this height and scale to accommodate being ta$en along on fre,uent tra el by the careta$er! One of the most stri$ing contemporary needs arose within the Yoruba *uslim and .hristian communities! The influence of these religions has discouraged many adherents from continuing traditional Yoruba practices# although some see no conflict and e en draw connections between their Yoruba and .hristian or *uslim identities! The necessity to conform to proscriptions against idolatry and to honor twins has created some simplified ere ibeji# which appear similar in form to car ed Yoruba dolls! Other contemporary de elopments arose which do not utili'e the community artists who car e traditional ere ibeji! Alastic dolls a ailable in the local mar$etplace ha e been occasionally seen# possibly because of the e+pense that commissioning a car er entails! In function# these dolls are genuine ere ibeji# as they are cared for and fulfill the same purpose as car ed pieces# although they are certainly not as attracti e or aluable to most outsiders! %nother stri$ing combination of contemporary life with traditional practice is double-portrait photography! %ccording to .! %ngelo *icheli# this type of photograph is used by many people in "est %frica to illustrate a relationship or personal achie ement! Ahotographs of twins# or foto ibeji# can be presented as an image of the two siblings or as a double portrait of one indi idualEseen in duplicate# reflected in a mirror# or double-e+posed! The latter is more common for commemoration as an ere ibeji# as the death of one twin at an early age will necessitate the need to photograph and present the remaining twin as the pair! /indsay E! Shannon

&ibliography 1oulberg# *arilyn 1ammersley! FIbeji Images of the Yoruba!G %frican %rts 6# 5 >%utumn 5:6?@3 8<7:8! *icheli# .! %ngelo! F2oubles and Twins3 % New %pproach to .ontemporary Studio Ahotography in "est %frica!G%frican %rts DD# 5 >Spring 8<<;@3 HH7;9!

1istory of twins /ong ago the birth of twins was regarded as an unnatural# ominous e ent! Twinning was often associated with promiscuity# animality# and/or se+ual encounters with spirits! Thus# often twins >and sometimes the mother@ were $illed! It is unsure when or why the change occurred! 1ere is one common ersion of why it did3 % couple from a group in the Iso$un ,uarter in Oyo# after not understanding their gi ing birth to twins# consulted Ifa! 1e said it would be fine to $eep the twins# pro ided they performed a sacrifice for them! They did so# and as a result the parents became ery rich! "hen the rest of the illage heard this# they decided to $eep their twins# in hope that they would also become rich! The first born twin is named Taiwo# and the second is named Iehinde! %lthough born second# Iehinde is the senior twin# because he sent his junior# Taiwo into the world first to be sure the world was safe! The birth of twins is almost always considered too much of a good thing! To return normalcy# a woman wishes to ha e two single# normal births after the birth of twins! The child born after twins# regardless of se+# is named FIdowuG and is associated with Eshu# the Yoruba

tric$ster deity! %ny rowdy beha ior the child displays is seen as his connection with Eshu! The ne+t child is called %laba# and it is he or she that returns life to ordinary terms! Idowu is said to land Ffast and hard#G while %laba floats softly to ma$e e erything normal! There are se eral connections between Eshu and Ibeji! Aalm-oil >found in palm nuts@ is placed on Eshu shrines to cool his anger! /i$ewise# when twins are upset# they are fed beans to pacify their anger! &oth EShu and Ibeji re,uire sacrifice or honor# otherwise they will suffer serious conse,uences! Twins# li$e Eshu# should be gi en tribute in order to recei e good fortune4 if not# they could cause harm to the parents or unsuspecting indi idual! Ibeji inflict their own retribution# while Eshu tric$s people into ma$ing the orisha punish them! Shango is the gi er and father of twins# as well as the Yoruba god of thunder! 1e is also commonly credited with blessing women with fertility ! In almost all forms of Yoruba religion he is described as a protecti e senior-relati e of twins >i!e!# 0ather of Twins# Jncle# )randfather# etc!@! 0or this reason# twins demand honor because they descend from the thundergod ! The legend# or creation of Shango the Thundergod# aries# but this is one commonly told ersion! Shango# the descendant of Oranmiyan# was the tyrannical fourth $ing of Oyo! 1e was a feared warrior and Oba who terrified his enemies! "ith the power of the $ingKs army he lay waste to illages# towns# and farms# demanded tribute# and controlled commerce and the sla e trade! &eing a ain ruler# he was obsessed with ac,uiring magical powers to enhance his rule! One day while playing with his magical powers# he created a storm out of his control! /ightning destroyed the city# and $illed many people including his family! Eli'abeth F/ibbyG *iller Ere Ibeji %rtists and Their "or$

Traditionally# the role of the artist in ol es the client/patron as a collaborator! The client/patronKs ideas are just as important as the artistKs ideas! %frican art is always religious in that e ery object has significance in the Yoruba religious world! The Yoruba attribute the creation of the human body to a sculpture that was formed by the artist deity# Obatala! Ere ibeji artists are considered semiprofessional and are typically farmers! )enerally# wood car ers will come from a car ing family or will do an apprenticeship# although there are some twin figures that may ha e been done by untrained car ers! Yoruba car ers# as well as the society# iew themsel es as artists! It is a common misconception that Yoruba artists were traditionally anonymous# because they did not sign their wor$! The names of artists were $nown to the

patrons and possibly anyone else who iewed the wor$! Some Yoruba car ers began to sign their wor$ with geometric patterns in about 5:<<! Establishing authorship of a piece of art is important to the Yoruba! The Yoruba may not publicly lin$ a specific art object with the name of its creator because names gi en at birth are related to the essence of an indi idualKs personality and destiny# the orL-inM or inner spiritual head! The orL-inM decides a personKs success or failure and directs an indi idualKs actions! Jntil recently# artists seldom ga e their full names to strangers because it made them susceptible to e il forces! Enemies who hear the name could use it to harm the owner of the name! Yoruba wood car ing has different stages! There are early stages in which much wood is remo ed# but more time is spent in concei ing the piece mentally# because car ers do not ma$e ma,uettes or s$etches! .ar ing the ere ibeji is done in se eral steps3 0irst# the log is si'ed down and the major body parts chiseled3 body# legs# arms# base# and head# which is usually about one-third of the si'e of the body! Then the artist refines the figure with smaller tools# followed by smoothing the body! The patterns# such as hair styles# are then cut! /astly# the ere ibeji is gi en facial mar$s based on the lineage of the father! %fter the car ing is finished# the artist will perform a ceremonial washing! %fter the washing# the figure is gi en to the parents# the commissioners# who are normally gi en about a wee$ to prepare for the arri al of the ere ibeji! 0amily and friends are in ited to the artistKs house for the e ent# and the parents bring food! "hile friends and family are gathering# payment for the ere ibeji is determined! In one e+ample# four $ola nuts are brought by the commissioners/parents! One of the four $ola nuts is bro$en# and the artist will hold the nuts and say FOgun la$aye Osinmole! Should my wor$manship fee be egbewaNG The nuts are then thrown on the ground! The artist will recei e a minimum fee if two nuts face up and the other two face down! The price will be increased for each subse,uent throw that does not result in two up and two down! There is a hidden meaning if the nuts do not land correctly after numerous throws# and the orisa Ogun is consulted by the artist using the same $ola nut process! Jsually# the car er can not accept a fee that is not appro ed by Ogun4 the usual minimum fee is a small amount of money! %fter payment is decided# the artist will ma$e a prayerful sacrifice! The ere ibeji is placed on a mat while the artist recites the blessing# after which the figure is presented to the mother by the artist! 0ollowing the blessing# there is singing by the family and friends while the mother dances to the music! This ends the ceremony# but the ere ibeji is not finished until the ceremonies performed by the parents at home are complete!

%ngela 2ieffenbach

&ibliography %biOdun# Rowland# 1enry (ohn 2rewal# and (ohn Aemberton III! The Yoruba %rtist3 New Theoretical Aerspecti es on %frican %rtists! Smithsonian &oo$s# 5::D! .hemeche# )eorge# and (ohn Aemberton III! Ibeji3 The .ult of Yoruba Twins! *ilan3 0i e .ontinents# 8<<?! FThe Ibeji .ult of the Yoruba!G %ccess 5; %ugust 8<5< athttp3//academics!smc t!edu/africanart/.Pueeny/Ibeji1omepage!htm! /amp# 0rederic$! FTemne Twins >TQ-bQri@ Should Share E erything!G %frican %rts >Spring 8<<;@3 95! /awal# &abatunde! FRjSwQpT3 The 2ialectics of Twoness in Yoruba %rt and .ulture!G %frican %rts >Spring 8<<;@3 89# ?9! Bemane$# 2a id! FYoruba .ar ers3 Aast and Aresent!G >8? *arch 8<<;@! %ccess 5; %ugust 8<5< athttp3//www!$unstpedia!com/articles/559/5/Yoruba-.ar ersI/Aage5!html

+%asse
Yoruba Twin 0igures3 %rtists Ere Ibeji artists are considered semiprofessional and in the past were are typically farmers! )enerally# wood car ers come from a car ing family or do an apprenticeship with a professional artist! %lthough some twin figures may be car ed by untrained members of the family# Yoruba car ers iew themsel es as true artists! In the past "estern obser ers considered traditional artists to be anonymous3 this is because Yoruba artists did not sign their wor$ as do artists in other

cultures! The patrons who commissioned the wor$ of art# and most people who saw it# $new ery well the name of the artist who created it3 artists were not anonymous! There is no written document with the names of the artists# Fbut in the car ing schools the names of the artists were mostly $nown and great popular car ers and their wor$ were in the memories of the peopleG! Some Yoruba car ers started to sign their wor$ with geometric patters in about 5:<< ! Establishing authorship of a piece of art is important to the Yoruba! The Yoruba may not publicly lin$ a specific art object with the name of its creator because names gi en at birth are related to the FessenceG of an indi idualKs personality and destiny# the orL-inM or inner spiritual head! The orL-inM decides a personKs success or failure and directs an indi idualKs actions! Jntil recently# artists seldom gi e their full names to strangers because it ma$es them susceptible to male olent forces! Enemies who hear the name could use it to harm the owner of the name! Yoruba wood car ing is carried out in different stages! In the early stages much wood is remo ed ,uic$ly# but more time is spent in the early stages on Uthin$ingK or concei ing of the piece! &ecause car ers do not ma$e s$etches# decisions about proportions and details are made mentally ! Normally# the twin figures are about ;G + 58G tall! Ere Ibeji are car ed in si+ steps3 0irst the e+cess wood is remo ed and the major body parts are outlinedthe body# legs# arms# base# and head# which is usually about 5/? the si'e of the body! Then the artist refines the figure with smaller tools! The patterns# such as hair styles# are then cut! /astly# the twin figure is gi en facial mar$s based on the lineage of the father ! %fter the car ing is finished# the artist performs a ceremonial washing of the ere Ibeji! %fter the washing# the figure must be gi en to the parents# who are normally gi en about a wee$ to prepare for the arri al of the ere Ibeji! 0amily and friends are in ited to the artistKs house for the e ent# and the parents bring food! "hile friends and family are gathering# they decide a fair payment for the ere Ibeji! 0our $ola nuts are brought by the commissioners/patrons! One of four $ola nuts is bro$en# and the artist holds the nuts and says FOgun la$aye Osinmole! Should my wor$manship fee be egbewaNG The nuts are then thrown on the ground! The artist recei es a minimum fee if two nuts face up and the other two face down! The price is increased for each subse,uent throw that does not result in two up and two down! There is a hidden meaning if the nuts do not land correctly after numerous throws# and the orisa Ogun is consulted by the artist using the same $olanut process ! Jsually# the car er cannot accept a fee that is not appro ed by orisa Ogun4 the usual minimum fee is fi e $obo! %fter payment is decided# the artist ma$es an offering! The ere Ibeji is placed on a mat while the artist recites the blessing# then the artist presents the figure to the mother! 0ollowing the blessing# family and friends sing while the mother

dances to the music! This ends the celebration# but the ere Ibeji is not finished until the offerings performed by the parents at home are complete!

Ogbomosho Yoruba Religion *ost people in Yorubaland belong to a world religion# either some form of .hristianity or# more commonly# Islam! &ut in smaller# more rural areas# traditional Yoruba religion is still commonly practiced >Aolo@! In Yoruba *ythology# the world was made by the creator Oludumare# or Olorun# from a ball of mud! &ecoming bored with it# he sent his first son# Obatala# down to earth with a chic$en# a di ination board# and a gelede mas$ and ordered him to populate the world! Once on Earth# Obatala heard the sound of drums and followed it! There was a festi al! Obatala was offered palm wine and dran$ so much of it# that he passed out underneath a tree! Olodumare was concerned# so he sent down his second son# Oduduwa# to chec$ on Obatala! %fter finding him incapacitated# Oduduwa was then forced to populate the world for Obatala!

*eanwhile# si+teen piles of dirt were scraped up by the chic$en creating si+teen $ingdoms! The first of course# was Ife the center of the world where life started! 2ue to the sla e trade in the 5;th V 5:th centuries# Yoruba religion has tra eled as far as .uba# 1aiti# &ra'il# Trinidad# and se eral major metropolitan areas of the Jnited States! %lthough there are many ariations of Yoruba beliefs# they all share a common praise reference to their originW FIfe my home# Ile-IfeG! The Yoruba belie e in the immortality of the soul and in the reincarnation of e ery human being! Souls of the dead are re-born as babies within their own family# within the period of a generation or two! %n ancestor will return sooner if all proper sacrifices and prayers are made to the dead! This encourages the youth to be $ind to the elderly# so they will watch o er them after death! /i$ewise# it is good to ha e many children so they can ta$e of their parent as he ages >Aolo@! Eniyan# which means Fthe selfG# must see$ to ma$e their way through life by doing the following3 strongly ac$nowledging all the arious spirits and powers# going though prayer s and sacrifices that will help others# responding to those who seeminglyEon their own initiati eEma$e demands upon a person# and ac$nowledging the presence of the male olent forces through sacrifice# all in the hope of $eeping them at a distance >Aemberton@! The Yoruba imagine the uni erse of human e+perience as a closed calabash! %ll that e+ists is within the calabash3 spirits# gods# ancestors# and the li ing! This is important# because it helps understand how an orisha can li e on earth# as with twins! There is no other world in the sense of a metaphysical distinction between this world and the other >Aemberton@! Yoruba religion is better defined in terms of dynamic monotheism! OlorunOlodumare is considered the one Fsupreme being!G 1e is the creator of all gods and life# yet he is not ac$nowledged or worshipped in day to day life! 1e can be connoted to the (udeo-.hristian )od# in the sense that he is bene olent4 he only creates life! 0or e+ample# although he created the ajogun who stri$e people with sic$ness# he also pro ided herbs and medicines to heal sic$ness >1orton@! Olodumare3 The concept connotes one who has the fullness or superlati e greatness# the e erlasting majesty upon whom man can depend >1orton@! Olorun3 The owner >Olorun@# the hea en abo e or the /ord whose home is in hea en abo e! Sometimes the Yoruba use Olorun Olodumare together! This double word means the Supreme &eing whose abode is in the hea en >1orton@! 2istinctions are made between the li ing# who inhabit the world# aye# and a realm $nown as orun where the li ing dead/anscestors# ara orun# imole or oro >spirits@# the orisa# as well as male olent powers >$nown asajorgun@li e >Aolo@! "hen a person suffers bad dreams# headaches# or depression# it is possible that he is being attac$ed by the magic powers of a witch! This can be pre ented by

medicines pro ided by the &abalawo# but the prescriptions and consultations can be e+pensi e! If you cannot afford medicines# there are 8 ways to protect yourself! You can li e a ery honest life# which Eshu ma$es difficult often# or join a cult! .ult .ommunities ha e wide e+perience of magic and ha e possession of effecti e antidotes! The most powerful and well-$nown .ult .ommunity is the secret society of Ogboni! Yet again# itKs e+pensi e to join a large# secure cult# so many smaller# local cult communities can be joined for a more modest price! Ifa is a di ination system used by the &abalawo through the teachings of Orunmila# the god of wisdom! The &abalawo can forsee the future and how to handle future situations through these teachings! The &abalawo is the Ifa preist with religious responsibility for the illage! 1e also charges a fee for all consultations and prescriptions! 1e is also the one to consult after the birth of twins! 1e describes the care needed to be gi en to twins# since he is able to communicate with the spirit realm! % Yoruba will ne er hold himself responsible for something that goes wrong in life! Rather# he will blame a spiritual force for his misfortunes >Aolo@! The most common culprit is the tric$ster )od# Eshu! Eshu is the messenger of the gods# but also represents uncertainty# chance# iolence V trouble! 1e also the god of the mar$etplace and the god of crossroads/decisions to ma$e in life! "hene er an argument brea$s or a misfortune happens# Eshu is said to be standing there! "hen the Eshu dance wand is held by the preistess or follower of Eshu# Eshu possesses them# spea$ing through them! 1e will Fride them li$e a horse!G Eli'abeth >F/ibbyG@ *iller

Ibadan
Twins and *on$eys %lthough now honored# reference to animalistic or non-human characteristics are still made through Edun >the colobus mon$ey@! &efore twins are born# they are said to ma$e a deal with Edun in order to come out as humans and not mon$eys! The birth of twins is e+plained se eral ways in reference to the Edun! One story refers to when the goddess Aeregun# the wife of the god Orunmila# lea es him and fornicates with arious spiritual powers and animals! "hen she finally returns# they are told by Ifa that she will bear twins for Orunmila# but they must gi e sacrifices to ensure a satisfactory birth! % male/female set of twins are born# and are named Edun! The male twin studies Ifa# which he $new before birth from his father# and isits all the animals >whose languages he $nows because of his mothers promiscuity@! % second story tells of how Edun helped a lost Oba recon,uer his city! In gratitude# he is admitted to a festi al where Edun promises to reproduce himself among humans in a way that his children will loo$ li$e

humans! It was then that ibeji began to be born! /i$ewise# corn is often fed to ibeji# since corn is the mon$eyKs fa orite food! Twins# in death are li$e the Edun mon$ey4 they can descend and ascend into the s$y >trees@ as they please3 they can choose to be reborn or not to be reborn! Twins do not ha e indi idual souls# they share one soul! "hen the soul is di ided half in orun and half in aye# it causes an e+treme unbalance! So when one twin dies# the other may wish to follow in order to restore balance to the soul! In order to pre ent this# the deceased soul can be held down or bac$# by weights and jewelry on the ere ibeji# from continuing to orun ! Some belie e the twins share the same soul! They are call twins Fejire#G or Ftwo who are one!G In this stance# each person on earth has a spiritual counterpart in the s$y which duplicates his actions! It is this soul which is continually reborn in cyclical fashion! In the case of twins# the spirit double has been born on earth! Since there is no way of telling which is the hea enly being and which is the mortal# both are treated as sacred from birth! Eli'abeth >F/ibbyG@ *iller %ngela 2ieffenbach

4shogbo Male pair

*aterials Jsed in the .reation of Ere Ibeji The ere ibeji is formed out of the wood of the ire tree! This tree is chosen for its soft wood and ease of car ing! The full ere ibeji figure may be car ed in under one wee$! There are three types of ire tree in "est %frica3 theire basabasa# or ire rubber4 the ire ordan# or iredan4 and the ire ona# or irena! The correct wood to use for car ing ere ibeji is the irena# because only it will react to the ritual sacrifice of both preparing and caring for the twin! In preparation for car ing# the entire tree is gi en a rooster# adiye ilagbe# as sacrifice before it is cut down! Once the tree is prepared# many ere ibeji may be car ed from the same source# though each ibejire,uires an adiye ilagbe as part of its commission! The car er will choose to use only the ire ona# unless the family commissioning the ere ibeji does not properly compensate him# with initial payments of two dried

fish# two snails# two dried rats# two $ola nuts# two alligator peppers# four $egs of palm wine# si+teen pieces of big yam# four calabashes full of beans# four calabashes full of corn# four tins of palm oil# and two coc$s or hens# depending on the se+ of the deceased twin! In addition# parents must bring food and drin$ to the car er e ery day until the piece is finished! If the wrong wood is used by the car er# the entire ritual must start o er# beginning with the consultation of the babalawo or di iner! .ar ing of the ere ibeji has si+ stages! 0irst is the sisa# when the log of the ire tree is cut into the correct si'e to accommodate one ibeji# between nine and twel e inches on a erage! Ne+t# the ad'e and chisel are used to define the major body sections# onalile# such as the head# torso# and legs! In aletunle# the arious body parts are refined! The rough car ing of the figure is completed in the smoothing stage# or didan! In the finfin# the aesthetic patterns are added to the e+ternal body! 0inally# the face mar$s of the fatherKs lineage# analogous to human scarification# are car ed! The lefto er scrapings from the ere ibeji# including the face mar$s# are regarded as ery effecti e medicine by the Yoruba! Jpon recei ing the ere ibeji# the mother may ne er burn the wood of the ire tree again! The materials and treatments gi en to the ere ibeji by the commissioning family are used for both ritual significance and beautification! They can ser e to illustrate the importance of twins in their own right or their relationship with a patron deity# most often the orisa Shango! *any legends can be attributed to the lin$ of Shangoand ibeji! One story states that one brother of Shango# Iing %ja$a# fathered twins and cataly'ed the practices of honoring twins! %nother story says that a supposed son of Shango was said to ha e fathered nine sets of twins# ma$ing Shango their grandfather! /astly# Shango himself is often said to ha e fathered the first set of twins in Yorubaland! No matter what account# as descendants of the royal fourth $ing of Oyo# the obaShango# twins are in ested with the importance and power of this ruling lineage! In addition# twins are regarded as sacred spiritual beings# orisa# which share the same soul# and are capable of bringing great wealth if honored accordingly7or enormous suffering if neglected! %ll decoration is therefore befitting of their religious and or political birthright! % decoration often found in the Oyo area is the abatiaja hat# a conical shaped article with flaps co ering the ears# often li$ened to the great conical crown adenla worn by the obas of the Yoruba! The adenla is worn only by those who can trace their descent from the first oba# Oduduwa! One difference is that the abatiaja lac$s the eil of the adenla which co ers the obaKs face! % reason for this might be that the adenla is seen as an orisaitself# and that the identity of the oba wearing it is only conse,uential! % twin howe er# is an orisa# or spirit# also# and so its hat lac$s this mas$ing eil due to the twinKs importance! If the abatiaja-adenla lin$is accurate it would seem to bolster the lineage of twins

through Shango# who was the grandson of Oduduwa! 1owe er# if the adenla lin$ is minor# then the abatiaja may be just an adornment meant to accentuate the head# ori# and the inner head# ori inu! This gi es substance to the beliefs which ma$e twins so mysterious# as the ori inu is the principal way in which one see$s to $now their destiny! %nother ornament where the spiritual and political attributes of twins intersect with beautification is clothing! .lothing may easily represent the wealth of the twinKs family through the use of cowry shells# pearls# beads# or other costly items# and can bring wealth also if honored properly! % li ing twin and its ere ibeji counterpart will li$ely wear the same clothing to emphasi'e their connection! These tunics and robes ha e other ob ious parallels to the clothing of obas and orisa priests and priestesses used at religious gatherings and political festi als! These regalia are decorated in symbolic imagery that is important to the family and the cults of theorisas which they worship! %n important symbol to the worship of an orisa is the abstract face# as it is said the robe or tunic is a shrine at which one can interface with the spiritual! 0aces may be numerous on the clothing item# symboli'ing further ori$i praise hymns and legend# or the wearerKs ability to see completely! Aatterns also point to ideas or associations# such as an interlace or wo en pattern for royalty! % chec$erboard pattern may symboli'e $nowledge or human intelligence! The 'ig'ag pattern is often associated with the path of ancestors and or serpents! It can also reference the orisa Shango# who controls the thunderbolt! %n ibeji robe co ered only in cowries is reminiscent of those worn by Shango priests# as well! &undles of cowry shells# worn at the wrists or an$les# always signify wealth instead of a particular orisa! No aesthetic addition is without significance! .olor is li$ewise used symbolically and ornamentally! .olorful beads are used ubi,uitously as a mar$er of the pri ileged ruling class who once controlled the trade routes# and hence could readily ac,uire beads! The primary colors of a garment or decoration may identify a particular orisa that is significant to the twinKs family# in o$ing its protection while honoring the god! % wide ariety of colors may still be used to call attention to the figureKs status and importance! This added attention may also bring wealth to the family! &eads adorning the nec$ or waist of the ere ibeji symboli'e the patron orisa of the mother or family! % common color combination is red and white# symbolic of the balance of iolence and calm credited to Shango# but also to twins themsel es! 2ar$ blue is often used to balance red# standing for calm# serenity# and a depth of wisdom or mystery! 2ar$ blue applied to the figureKs head is usually deri ed from indigo# elu# a pigment which can be deri ed from a ariety of plants# mainly of the family Indigofera! This pigment may be produced synthetically# as well! %nother commonly used dye is Ric$ets blue washing powder# which is fi+ed to a waji cloth

and rubbed against the ibejihair! The same ritual would be performed on a li e twin as documented during the nineteenth-century custom# wherein mothers had a child painted with camwood and his head painted with indigo! .amwood powder# osun# is deri ed from the tree &aphia nitida# found in "est %frican countries! This red dye comes from the bar$ and heart of the tree# and li$e indigo it is soluble in an al$ali solution# ma$ing it a fa orable counterpart for application! The color may signify Shango for some families# and is used to decorate and protect the ere ibeji!

Esie
0ood and drin$ also become material to the ere ibeji through regular feedings by the mother or another family member! These feedings happen e ery fi e to se en days# though may occur more often! Suitable twin foods include epa#

groundnuts# a$ara# fried cornmeal ca$e# isu# fried yam# $ola# and ire$e# sugar cane! *ost important is ewa# a blend of beans and palm oil and the twinsK fa orite food! Ewa is said to soothe the hot-headed twins and cool their stomachs# thought to be the seat of anger in Yorubaland! This pacifying mi+ture is also found on shrines to Eshu# the tric$ster! "ith time# new materials and con entions ha e become incorporated into the creation of the ere ibeji! (ust as traded glass beads entered the tradition of adornment in %frica during the se enteenth century# so too ha e new pigments arri ed! Nontraditional camwood substitutes such as chal$s# powders# synthetics# and acrylics ha e been seen on ibeji handled in the customary methods! Omolangidi are long-established dolls in Yoruba culture# but can be used as ere ibeji and in ol ed in the same rites! These simplified forms with naturalistic heads can be easier to care for than traditional car ing! *anufactured plastic dolls# often made in Nigeria# are readily a ailable in Yorubaland! This ariation is not shoc$ing# considering that traditional omolangidi are also replacing ere ibeji! The least con entional substitute for ere ibeji is the photograph# becoming especially pre alent among .hristian and *uslim parents! The e+tent to which photographs are ceremonially treated is not readily $nown# though photographs are a celebration of twindom that e+tends beyond the Yoruba! 2ouble portraits can commemorate many different relationships# but the similarity between these and actual twin pictures# or fotoibeji# is considerable! One mar$er of foto ibeji is the use of identical reproduction on the same photograph because of the deceased twin! This can be achie ed with a double e+posure on film# the use of a mirror# or a duplicated print of a single twin! These photos can also be commissioned to mar$ an important e ent# such as a birthday# a success# or an anni ersary in which it would be shameful not to recogni'e the deceased! Jse of these nontraditional substitutes may occur for a number of reasons! *ost fre,uent is the e+ception sought by the *uslim or .hristian Yoruba who bypasses the babalawo# who would prescribe the full ceremonial obser ation of the traditional ere ibeji! This allows the family of the deceased twin to practice the unorthodo+ habits of the surrounding area! The price of commission or ease of access to a substitute figure ersus the traditionally car ed statue may also influence the family! It is undisputed# howe er# that there is ritual and religious significance to these substitutes! (ames .urry &ibliography Stoll# *areidi# and )ert Stoll! Twin 0igures of the Yoruba! *unich# 5:;<! 8D7??D! *icheli# %ngelo .! F2oubles and Twins3 % New %pproach to .ontemporary Studio Ahotography in "est %frica!G%frican %rts >Spring 8<<;@3 HH7;9!

1oulberg# *arilyn 1ammersley! FIbeji Images of the Yoruba!G %frican %rts 6# 5 >%utumn 5:6?@3 8<:8! Aemberton# (ohn III! %frican &eaded %rt3 Aower and %dornment! Northhampton# *%3 Smith .ollege *useum of %rt# 8<<;! ?75<9! /oren'# .arol! %frican Shapes of the Sacred3 Yoruba Religious %rt in the /ongyear *useum of %nthropology! 1amilton# NY3 .olgate Jni ersity# 8<<H! ?78;! Thompson# Robert 0arris! FSons of Thunder3 Twin Images among the Oyo and Other Yoruba )roups!G %frican %rts D# ? >Spring 5:65@3 ;7;<!

Ilorin
TwinsK .lothing .lothing represents the wealth of the twinKs family through the use of cowry shells# pearls# beads# or other costly items# and can also bring wealth! % li ing twin and its car ed counterpart usually wear the same clothing to emphasi'e their connection! Their tunics and robes ha e other ob ious parallels to the clothing worn at religious gatherings and political festi als by obas >$ings@# orisas >spirits@# and male and female priests! Robes are decorated in symbolic imagery that is important to the family and the cults of the orisas which they worship! %n important symbol to the worship of an orisa is the abstract face on the robe# as it is said that the robe or tunic is a

shrine at which one can interact with the spiritual! 0aces may be numerous on the clothing item# symboli'ing further praise hymns and legend or the wearerKs ability to see completely! Aatterns# such as an interlace or wo en pattern for royalty# also point to ideas or associations! % chec$erboard pattern may symboli'e $nowledge or human intelligence! The 'ig'ag pattern is often associated with the path of ancestors and/or serpents! It can also refer to the orisa Shango# who controls the thunderbolt! %n ibeji robe co ered only in cowries is similar to those worn by Shango priests# as well! &undles of cowry shells# worn at the wrists or an$les# always signify wealth instead of a particular orisa! No aesthetic addition is without significance! % decoration often found in the Oyo area is the abatiaja hat# a conical shaped hat with flaps co ering the ears# often li$ened to the great conical crown# adenla# worn by the $ings of the Yoruba! The adenla is worn only by those who can trace their descent from the first >$ing@ oba# Oduduwa! One difference is that the abatiaja lac$s the eil of the adenla which co ers the obaKs face! % reason for this might be that the adenla is seen as anorisa itself# and the identity of the oba wearing it is only conse,uential! % twin# howe er# is an orisa or spirit also# and its hat lac$s this mas$ing eil because of the twinKs importance! If the abatiaja-adenla lin$is accurate# it would seem to bolster the lineage of twins through Shango# who was the grandson of Oduduwa! 1owe er# if the adenla lin$ is minor# then the abatiaja may just be an adornment meant to accentuate the head# ori# and the inner head# ori inu! This gi es substance to the beliefs which ma$e twins so mysterious# as the ori inu is the principal way in which one see$s to $now their destiny! Carious adornments are employed as protection for the ere ibeji! &ron'e# brass# or iron rings can be obser ed at the wrists or an$les of a twin# and symbolically restrain the restless twin spirit! *etal bands are seen particularly if the ere ibeji has a sur i ing twin because# should the spirit escape to the spiritual world# it may tempt its twin to do the same! &rass bracelets representing the ri er goddess Oshun are used to bring fertility! Special flared metal an$lets are thought to ward off %bi$u spirits# the spirit of a single twin which is continuously reborn to the same mother# also capable of tempting the li ing twin to its death! Impressions of these same decorations may be car ed into the wrists and an$les! Aalm-nut waist beads guard against disease! /i$ewise# an Islamic amulet# or tirah# is often car ed to protect the twin from illness and ad ersity! "hen necessary# lead or sil er nails may be dri en into the face to protect the car ed eyes from se ere wear due to handling! (ames .urry

%esthetics of Yoruba Ere Ibeji In order to understand %frican art# one must consider not only the formal aspects >material# car ing techni,ues# pigments# mar$ings# decoration# etc!@ but also# and essentially# the aesthetic ,ualities! 0or the Yoruba# what ma$es the ere

ibeji figures more than simply car ed li$enesses of deceased twins >which indeed they are not@ but actually imbues them with meaningfulness# is the intentionality not only of the artist# but of those who commission the wor$# and of the Yoruba community in general! Ere ibeji are made to represent the deceased twin in his or her prime# not at the age at which he or she died# which often is in infancy! %esthetically# then# the figures are not accurate naturalistic portraits! Some scholars# such as T!(!1! .happell# e+plain this FinconsistencyG by emphasi'ing that the principal function of the ere ibejiis Fto ser e as a repository for the childKs spirit so that it may return to this world and resume its journey to adulthood!G % noteworthy feature of ere ibeji is the disproportionately large head of the majority of them# which represents its the cultural and spiritual significance! The Yoruba attach great importance to the head# as it is a symbol of the Fpersonality# which controls the destiny of each indi idual!G 0or this reason# the head ser es as the focal point for many Yoruba rituals! In addition# because the ere ibeji commemorates a deceased child# and since infants in particular ha e significantly larger heads in proportion to the rest of their bodies# it is reasonable to assume that this characteristic references infantile proportions! Other physical aesthetic ,ualities of Yoruba artwor$ include Fresemblance >jijora@# balance >idogba@# clarity >ifarahun@# smoothness >didon@# detail >fifin@ ! ! ! s$illful embellishment of form >ona@# inno ation/creati ity >ara@ ! ! ! and ali eness >idahun@!G >1! 2rewal@ The artist is also re,uired to ha e many specific irtues! 1e >for all creators of ere ibeji are men@ must be Fa good person# of good character# friendly and interested in others ! ! ! 1e must not be ill-tempered!G &ut e en more# he Fmust possess oju-inu >Uinner eyeK@ by which he discerns the iwa >essential nature@ and understands the ori$i >Ucitation poetryK of his artistic subjectG >1! 2rewal@! This is at the heart of Yoruba aesthetics! %se# the Flife force#G or Fspirit#G with which ere ibeji are endowed# is the most important aspect of Yoruba aesthetics in general! %se is defined as Fthat di ine essence in which physical materials# metaphysical concepts# and art blend to form the energy or life force acti ating and directing socio-political# religious# and artistic processes and e+periences! %se fundamentally informs the Yoruba aestheticG >R! %biodun@! 0or this reason# one cannot analy'e most Yoruba art in strictly formal terms4 too much is lost that is essential to the wor$ itself! In Yoruba land# an artwor$ is not ontologically complete until it has been Facti atedG through a series of incantations# in ocations >during which the ere ibeji# in this case# is imbued with the spirit of the deceased twin for which it was created in the first place@# and other offerings! These offerings often continue for generations >which spea$s to the intentionality of those who commission the wor$s# and the community at large@# and are an integral part of what ma$es these artwor$s ere

ibeji as opposed to simply car ed artifacts! There are fi e important components in ol ed in Yoruba aesthetics# the first being ase# which is Fthe ground of all creati e acti ity!G Ne+t is ori# which refers to the head# and is related to oneKs personal destiny! Each person is said to ha e his or her own personal orisa# or god spirit to whom they are to pray and ma$e sacrifices! In return# this orisa acts as Fthe power that stands surety for the potential that XoneKsY life contains!G The third component# iwa# is ery important# because it relates to the Fessential natureG of a person or a thing! Jntil an ere ibeji has been endowed with this particular component# it remains simply a car ing! The fourth is ewa# and this directly in ol es an understanding of beauty E but not just physical beauty! &eauty for the Yoruba in ol es craftsmanship# to be sure# but it also depends upon a less-easily defined ,uality which is directly related to the iwa! In order for an art object to be considered beautiful# to contain ewa# it must be Fthe fulfillment# the e+pression# of oneKs essential nature!G %gain# this goes for people as well as for art! 0inally# the fifth component is ona! Ona is the artistKs ability to con ey the essential nature of the artwor$ in the form! It is a ,uality that any artist must embody if he or she is to be appreciated as a real artist! Ona is Fcreati e imagination which finds e+pression in the transformation of raw materials into new formsG >R! %biodun@! "endy %! Aar$er .laire Smessaert

+beokuta
%n O er iew of Traditional Yoruba Religion *ost people in Yorubaland belong to a world religion# either some form of .hristianity or# more commonly# Islam! &ut in smaller# more rural areas# traditional Yoruba religion is still commonly practiced! In Yoruba mythology# the world was made by the creator Oludumare from a ball of mud! &ecoming bored with it# he sent his first son# Obatala# down to earth with a chic$en# a di ination board# and a gelede mas$ and ordered him to populate the world! Once on earth# Obatala heard the sound of drums and followed it! There was a festi al! Obatala was offered palm wine and dran$ so much of it that he passed out underneath a tree! Olodumare was concerned# so he sent down his second son# Oduduwa# to chec$ on Obatala! %fter finding Obatala incapacitated# Oduduwa was forced to populate the world himself! *eanwhile# si+teen piles of dirt were scraped up by the chic$en# creating si+teen $ingdoms! The first of course# was Ife# the center of the world where life started!

&ecause of the sla e trade in the eighteenth and nineteenth centuries# Yoruba religion has tra eled as far as .uba# 1aiti# &ra'il# Trinidad# and se eral major metropolitan areas of the Jnited States! %lthough there are many ariations of Yoruba beliefs# they all share a common praise reference to their origin3 FIfe my home# Ile-Ife!G The Yoruba belie e in the immortality of the soul and the reincarnation of e ery human being! Souls of the dead are reborn as babies within their own family# within the period of a generation or two! %n ancestor will return sooner if all proper sacrifices and prayers are made to the dead! This encourages the youth to be $ind to the elderly# so they will watch o er them after death! /i$ewise# it is good to ha e many children so they can ta$e of their parents as they age! Eniyan# which means Fthe self#G must see$ to ma$e its way through life by doing the following3 strongly ac$nowledging all the arious spirits and powers4 going though prayers and sacrifices that will help others4 responding to those who seeminglyEon their own initiati eEma$e demands upon a person4 and ac$nowledging the presence of the male olent forces through sacrifice# all in the hope of $eeping them at a distance! One theory as to why ere ibeji ha e such disproportionately large heads is related to the spiritual references pertaining to the head# where the spirit is often said to reside! There are three ery important concepts of thought concerning oneKs own spirit! Ore inu >Finner headG@ is a personal destiny one has chosen while $neeling before Olorun before entering the world of the li ing! Its counterpart# e$eji mi >Fmy otherG@# is in the spirit realm and may help to achie e a chosen life# but will be of no help if ignored! Ore ode >Fouter headG@ refers to the physical world that can be percei ed by the senses! The Yoruba imagine the uni erse of human e+perience as a closed calabash! %ll that e+ists is within the calabash3 spirits# gods# ancestors# and the li ing! This is important# because it helps understand how an orishacan li e on earth# as with twins! There is no other world in the sense of a metaphysical distinction between this world and the other! Yoruba religion is best defined in terms of dynamic monotheism! OlorunOlodumare is considered the one supreme being! 1e is the creator of all gods and life# yet he is not ac$nowledged or worshipped in day-to-day life! 1e can be e,uated to one interpretation of the (udeo-.hristian )od# in the sense that he is bene olent4 he only creates life! 0or e+ample# although he created the ajogun who stri$e people with sic$ness# he also pro ided herbs and medicines to heal sic$ness! Olodumare3The concept connotes one who has the fullness or superlati e greatness# the e erlasting majesty upon whom humanity can depend! Olorun3 The owner# or the hea en abo e# or the lord whose home is in hea en abo e! Sometimes the Yoruba use FOlorun 7Olodumare!G This double word means

the supreme being whose abode is in the hea en! "hen a person suffers bad dreams# headaches# or depression# it is possible that he is being attac$ed by the magic powers of a witch! This can be pre ented by medicines pro ided by the babalawo# the Ifa priest with religious responsibility for the illage# but the prescriptions and consultations can be e+pensi e! If you cannot afford medicines# there are two ways to protect yourself3 You can li e a ery honest life# which Eshu often ma$es difficult# or join a cult! .ult communities ha e wide e+perience in magic and possess effecti e antidotes! The most powerful and best-$nown cult community is the secret society of Ogboni! Yet again# itKs e+pensi e to join a large# secure cult# so many smaller# local cult communities can be joined for a more modest price! Ifa is a di ination system used by the babalawo through the teachings of Orunmila# the god of wisdom! Thebabalawo can foresee the future and $nows how to handle future situations through these teachings! 1e charges a fee for consultations and prescriptions! 1e is also the one to consult after the birth of twins! 1e describes the care needed to be gi en to twins# since he is able to communicate with the spirit realm! % Yoruba will ne er hold him- or herself responsible for something that goes wrong in life! Rather# he or she will blame a spiritual force for misfortunes! The most common culprit is the tric$ster )od# Eshu! Eshu is the messenger of the gods# but also represents uncertainty# chance# iolence# and trouble! 1e is also the god of the mar$etplace and the god of crossroads/decisions to ma$e in life! "hene er an argument brea$s out or a misfortune ocurs# Eshu is said to be standing there! "hen the Eshu dance wand is held by the female priest or follower of Eshu# Eshu possesses her# spea$ing through her! The birth of twins >Taiwo# followed by Iehinde@ is almost always considered too much of a good thing! To return to normalcy# a woman wishes to ha e two single# normal births after the birth of twins! The child born after twins# regardless of se+# is named FIdowuG and is e,uated with Eshu# the Yoruba tric$ster deity! %ny rowdy beha ior the child displays is seen as his connection with Eshu! The ne+t child is called %laba# and it is he or she that returns life to ordinary terms! Idowu is said to land Ffast and hard#G while %laba floats softly to ma$e e erything normal! There are se eral commonalities between Eshu and ibeji! Aalm oil is placed on Eshu shrines to cool his anger! /i$ewise# when ibeji are upset# they are fed beans to pacify their anger! &oth twins and Eshu re,uire sacrifice or honor# otherwise they will suffer serious conse,uences! Twins# li$e Eshu# should be gi en tribute in order to recei e good fortune4 if not# they could cause harm to the parents or unsuspecting indi idual! Ibeji inflict their own retribution# while Eshu tric$s people into ma$ing the orisa punish them! Shango is the gi er and father of twins# as well as the Yoruba god of thunder! 1e

is also thought to bless women with fertility! In almost all forms of Yoruba religion he is described as a protecti e senior relati e of twins >i!e!# father of twins# uncle# grandfather# etc!@! 0or this reason# twins demand honor because they descend from the thunder god! /ong ago# twins were regarded as an unnatural# ominous e ent! Twinning was often associated with promiscuity# animality# and/or se+ual encounters with spirits! Twins >and sometimes the mother@ were often $illed! It is unclear when or why the change to their present position of honor occurred! 1ere is one common ersion regarding the change3 % couple from a group in the Iso$un ,uarter in Oyo# not understanding their ha ing had twins# consulted the Ifa di inity! 1e said it would be fine to $eep the twins# pro ided they performed a sacrifice for them! They did so# and as a result the parents became ery rich! "hen the rest of the illage heard this# they decided to honor their twins# in the hope that they would also become rich! %lthough now honored# reference to animalistic or nonhuman characteristics are still made through Edun >the colobus mon$ey@! &efore twins are born# they are said to ma$e a deal with Edun in order to come out as humans and not as mon$eys! The occurrence of twins is e+plained se eral ways in reference to Edun! The goddess Aeregun# the wife of the god Orunmila# left him and fornicated with arious spiritual powers and animals! "hen she finally returned# she was told by Ifathat she would bear twins for Orunmila# but they must gi e sacrifices to ensure a satisfactory birth! % male/female pair of twins was born# and were named Edun! The male twin studied Ifa di ination# which he $new before birth from his father# and isited all the animals >whose languages he $new because of his motherKs promiscuity@! % second story tells of how Edun helped a lost oba find his city! In gratitude# he was admitted to a festi al where Edun promised to reproduce himself among humans in such a way that his children would loo$ li$e humans! It was then that ibeji began to be born! Some belie e that twins share the same soul! They call twins ejire# or Ftwo who are one!G In this stance# each person on earth has a spiritual counterpart in the s$y which duplicates his actions! It is this soulwhich is continually reborn in cyclical fashion! In the case of twins# the spirit double has been born on earth! Since there is no way of telling which is the hea enly being and which is the mortal# both are treated as sacred from birth! Twins are in death li$e the Edun mon$ey4 they can descend and ascend into the s$y >trees@ as they please! "hen the soul is caused to lie half in orun and half in aye# it causes an e+treme unbalance! Thus when one twin dies# the other may wish to follow in order to restore balance to the soul! In order to pre ent this# the deceased soul can be held bac$ by weights and jewelry on the ere ibeji! Eli'abeth *iller

&ibliography 1orton# 1al! FYoruba Religion and *yth!G %frican Aostcolonial /iterature in English in the Aostcolonial "eb! %ccess 56 %ugust 8<5< at http3//www!postcolonialweb!org/nigeria/yorubarel!html! 1oulberg# *arilyn 1ammersley! FIbeji Images of the Yoruba!G %frican %rts 6# 5 >%utumn 5:6?@3 8<7:8! Aemberton# (ohn III! FEre Ibeji3 %n %ffirmation of /ife in the 0ace of 2eath!G In (ohn Aemberton III# (ohn Aicton# and /amidi O! 0a$eye# Ibeji3 The .ult of Twins! 0i e .ontinents Editions# 8<<H! ?57?:! Aolo# 0austo# and (ean 2a id! .atalogue of the Ibeji! Burich3 )alerie "alu# 8<<5! Thompson# Robert 0arris! FSons of Thunder3 Twin Images among the Oyo and Other Yoruba )roups!G %frican %rts D# ? >5:65@3 ;7;<! Cisona# *onica &!# et al! % 1istory of %rt in %frica! 8nd ed! Arentice-1all# 8<<;! 88;789?!

Sha$i

Aatination/change of surface with use 1ow twin figures are used3 &ibliography .happel# T! (! 1! The Yoruba .ult of Twins in 1istorical Aerspecti e! %frica3 (ournal of the International %frican Institute# Col! DD# No! ? >(ul!# 5:6D@# pp! 89<8H9! .hemeche# )eorge! Reflection on Yoruba Twin 0igures by a "estern %rtist! in Ibeji3 the .ult of Yoruba twins# )! .hemeche# (! Aemberton# et al! *ilan# 9 .ontinents Editions# >8<<?@# pp! 8?-89! .olgate Jni eristy! %frican Shapes of the Sacred3 Yoruba Religious %rt in the /onyear *useum of %nthropology! .olgate Jni ersity3 1amilton# NY# 8<<H! pp ?8;! 2rewal# *argaret Thompson! Arojections from the Top in Yoruba %rt! %frican %rts# Col!55# No! 5 >Oct!# 5:66@# pp!D?-:8! 0a$eye# /amidi O! .ommissioned in Yorubaland! in Ibeji3 the .ult of Yoruba twins# )! .hemeche# (! Aemberton# et al! *ilan# 9 .ontinents Editions# >8<<?@# pp 86-8:! 1oulberg# *arilyn 1ammersley! Ibeji Images of the Yoruba! %frican %rts# Col! 6# No! 5 >%utumn# 5:6?@# pp! 8<-:8! Imperato# Aascal (ames and )a in 1! Imperato! Twins# 1ermaphrodites# and an %ndrogynous %lbino 2eity3 Twins and Scuplted Twin 0igures among the &amana and *anin$a of *ali! %frican %rts# Spring 8<<;! pp D<-D:! Iasfir# Sidney /ittlefield! %frican %rt and %uthenticity3 % Te+t with a Shadow! %frican %rts# Col! 89# No! 8 >%pril# 5::8@# pp! D5-:6! /amp# 0rederic$ (ohn! Temne Twins >TQ-bQri@ Should Share E erything3 2o You *ean E erythingN! %frican %rts# Spring 8<<;! pp 9<-H9! /awal# &abatunde! RjSwQpT3 The 2ialectics of Twoness in Yoruba %rt and .ulture! %frican %rts# Spring 8<<;! pp 8D-?:! *icheli#.! %ngelo! 2oubles and Twins3 % New %pproach to .ontemporary Studio Ahotography in "est %frica!%frican %rts# Spring 8<<;! pp HH-;9! Aee$# Ahilip *! .ouples or 2oublesN Representations of Twins in the %rts of %frica! %frican %rts# Spring 8<<;! pp 5D-8?! Aemberton# (ohn III! %frican &eaded %rt3 Aower and %dornment! Smith .ollege *useum of %rt3 Northhampton# *%# 8<<;! Aemberton# (ohn III! Ere Ibeji3 /ife in the 0ace of 2eath! in Ibeji3 the .ult of Yoruba twins# )! .hemeche# (! Aemberton# et al! *ilan# 9 .ontinents Editions# >8<<?@# pp ?5-D;!

Steiner# .hristopher &! The Trade in "est %frican %rt! %frican %rts# Col!8D# No! 5 >(an!# 5::5@# pp! ?;-5<5! Stoll# *areidi and )ert Stoll! Twin 0igures of the Yoruba! )ert and *ereidi Stoll3 )ermany # 5:;<! Thompson# Robert 0arris! Sons of Thunder3 Twin Images among the Oyo and Other Yoruba )roups! %frican %rts# Col! D# No! ? >Spring# 5:65@# pp! ;-;<! Cirtual &otanic )arden4 http3//www! irboga!de/&aphiaZnitida!htm

Ilorin male/female pair %daptation to new uses and religions /indsay E! Shannon .ontinuity and .hange in Ere Ibeji

The FtraditionalG art form of ere Ibeji seen in this e+hibition continues to be made by artists who ser e the community around them! These treasured figures are still the most sought-after pieces by collectors and museums today! 1owe er# in the twentieth century and beyond# new forms began to be used to fulfill the needs of ibeji and reflect the changes that ta$e place in e ery culture o er time! Some contemporary ere Ibeji are car ed by the same artists who car e FtraditionalG Ibeji figures! Smaller ere Ibeji >0ig! 5-8@ ha e been created# usually re,uested by indi iduals for whom mobility is a concern! %ccording to scholar *arilyn 1oulberg# most FtraditionalG ere Ibeji a erage about ten inches in height# arying slightly by region! Smaller figures can be about half this height and scale to accommodate being ta$en along on fre,uent tra el by the careta$er! One of the most stri$ing contemporary needs arose within the Yoruba *uslim and .hristian communities! The influence of these religions has discouraged many adherents from continuing traditional Yoruba practices# although some see no conflict and e en draw connections between their Yoruba and .hristian or *uslim identities >*icheli# ;<-;5@! The necessity to conform to iconoclasm and to honor twins has created some simplified ere Ibeji >0ig! ?-D@# which appear similar in form to car ed Yoruba dolls! Other contemporary de elopments arose which do not utili'e the community artists who car e FtraditionalG ere Ibeji! Alastic dolls a ailable in the local mar$etplace ha e been occasionally seen in use as ere Ibeji# as in 0ig! 9# possibly due to the e+pense that commissioning an artist to car e an ere Ibeji entails! In form# these dollsare ere Ibeji# as they are cared for and fulfill the same purpose as car ed pieces# although they are certainly not as attracti e or aluable to most outsiders! %nother stri$ing combination of contemporary life with traditional practice is double-portrait photography! %ccording to .! %ngelo *icheli# this type of photograph is used by many people in "est %frica to illustrate a relationship or personal achie ement! Ahotographs of twins or foto ibeji can be presented as an image of the two siblings or as a double portrait of one indi idualEseen in duplicate# reflected in a mirror# or double-e+posure! >0ig! H@ The latter is more common for commemoration as an ere ibeji# as the death of one twin at an early age will necessitate the need to photograph and present the remaining twin as the pair! &ibliography3 1oulberg# *arilyn 1ammersley! FIbeji Images of the YorubaG# %frican %rts# Col! 6# No! 5 >%utumn# 5:6?@# p! 8<-:8!

*icheli# .! %ngelo! F2oubles and Twins# % New %pproach to .ontemporary Studio Ahotography in "est %fricaG#%frican %rts# Col! DD# No! 5 >Spring# 8<<;@# p! HH-;9! Image sources3 0ig! 5! Small ere Ibeji# Simon collection >5?<a@! 0ig! 8! *iniature Twin Images .ar ed in 5:H< at O$ebola# near Ogbomosho# Oyo! 1t! D!:= and D!D=# p! 8D! 0ig! ?! Simplified 0orm of Twin Image Owned by a *uslim .ouple Represents Their Twin Son "ho 2ied in 5:H6! Igangan# Oyo! 1t! 9!H=# p! 8H! 0ig! D! % Aerfectly Simple .ylinder .ar ed in 5:H6 Represents the 2eceased Twin Son of a .hristian "oman of Igbo-Ijaiye# Oyo! %ugust# 5:6<# p! 86! 0ig! 9! *other of Twins at Igbo-Ora# Oyo# Jses a Alastic 2oll to Represent 1er Twin Son "ho 2ied in 5:6<# p! 8H! [0ig! 8-9# photographs by *arilyn 1ammersley 1oulberg# published in FIbeji Images of the YorubaG# %frican %rts# Col! 6# No! 5 >%utumn# 5:6?@# p! 8<-:8! 0ig! H! 2ouble photography/Twin photography from .! %ngelo *icheli or ..A\J%ri'ona

Ila Orangun *aterials (im .urry %t its core# the ere ibeji is formed out of the wood of the ire tree! This tree is chosen for its soft wood and ease of car ing! The full ere ibeji figure may be car ed in under one wee$! There are three types of ire tree in "est %frica3 the ire basabasa# or ire rubber4 the ire ordan# or iredan4 and the ire ona# or irena! The correct wood to use for car ing ere ibeji is the irena# because only it will react to the ritual sacrifice of both preparing and caring for the twin! In preparation for car ing# the entire tree is gi en a rooster# adiye ilagbe# as sacrifice before cutting down! Once the tree is prepared# many ere ibeji may be car ed from the same source# though each ibeji re,uires an adiye ilagbe as part of its commission >.hemeche/ 0a$aye@! The car er will only choose to use the ire ona# unless the family commissioning the ere ibeji does not properly compensate the car er! This includes initial payments of two dried fish# two snails# two dried rats# two $ola nuts# two alligator peppers# four $egs of palmwine# si+teen pieces of big yam# four calabash full of beans# four calabash full of corn# four tins of palm oil and two

coc$s or hens depending on the se+ of the deceased twins! In addition# parents must bring food and drin$ to the car er e ery day until the piece is finished! If the wrong wood is used by the car er# the entire ritual must start o er beginning with the consultation of thebabalawo or di iner >.hemeche/0a$aye@! .ar ing of the ere ibeji is composed of si+ stages! 0irst is the sisa# where the log of the ire tree is cut into the correct si'e to accommodate one ibeji# between nine and twel e inches on a erage! Ne+t# the ad'e and chisel are used to define the major body sections# onalile# such as the head# torso and legs! In aletunle# the arious body parts are refined! The rough car ing of the figure is complete in the smoothing stage# or didan! In the finfin# the aesthetic patterns are added to the e+ternal body! 0inally# the face mar$s of the fatherKs lineage# analogous to human scarification# are car ed >.hemeche@! The scrapings of the ere ibeji# including the face mar$s# are regarded as ery effecti e medicine by the Yoruba >Stoll# H;@! Jpon recei ing the ere ibeji# the mother may ne er burn the wood of the ire tree again >.hemeche/0a$aye@! The materials and treatments gi en to the ere ibeji by the commissioning family ne+t are used for both ritual significance and beautification! They can ser e to illustrate the importance of twins in their own right or its relationship with a patron deity# most often the orisa Shango>Aemberton# :4 Stoll# H<-6<@! *any legends can be attributed to the lin$ of Shango and ibeji! One story states that one brother of Shango# Iing %ja$a# fathered twins and cataly'ed the practices to honor twins! %nother story of a supposed son of Shango was said to ha e fathered nine sets of twins# ma$ing Shango their grandfather! /astly# Shango himself is often attributed as ha ing fathered the first set of twins in Yorubaland! No matter what account# as descendants of the royal fourth $ing of Oyo# the oba Shango# twins are in ested with the importance and power of this ruling lineage >Aemberton# :@! In addition# twins are regarded as sacred spiritual beings# orisa# which share the same soul# and are capable of bringing great wealth if honored accordingly- or enormous suffering if neglected >1oulberg# 8?@! %ll decoration is therefore befitting of their incredible religious and or political birthright! % decoration often found in the Oyo area is the abatiaja hat# a conical shaped article with flaps co ering the ears# often li$ened to the great conical crown adenla worn by the obas of the Yoruba! The adenlais worn only by those who can trace their descent from the first oba# Oduduwa! One difference is that theabatiaja lac$s the eil of the adenla which co ers the obaKs face! % reason for this might be that the adenla is seen as an orisa itself# and that the identity of the oba wearing it is only conse,uential! % twin howe er# is anorisa or spirit also# and so its hat lac$s this mas$ing eil due to the twinKs importance! If the abatiaja-adenlalin$is accurate it would seem to bolster the lineage of twins through Shango# who was the grandson ofOduduwa! 1owe er# if the adenla lin$ is

minor# then the abatiaja may just be an adornment meant to accentuate the head# ori# and the inner head# ori inu! This gi es substance to the beliefs which ma$e twins so mysterious# as the ori inu is the principal way in which one see$s to $now their destiny! %nother ornament where the spiritual and political attributes of twins intersect with beautification is clothing! .lothing may easily represent the wealth of the twinKs family through the use of cowry shells# pearls# beads# or other costly items# and can bring wealth also if honored properly! % li ing twin and its ere ibejicounterpart will li$ely wear the same clothing to emphasi'e their connection >.hemeche/0a$eye@! These tunics and robes ha e other ob ious parallels to the clothing of obas and orisa priests and priestesses used at religious gatherings and political festi als! These regalia are decorated in symbolic imagery that is important to the family and the cults of the orisas which they worship! %n important symbol to the worship of an orisa is the abstract face# as it is said the robe or tunic is a shrine at which one can interface with the spiritual! 0aces may be numerous on the clothing item# symboli'ing further ori$i praise hymns and legend# or the wearerKs ability to see completely! Aatterns also point to ideas or associations# such as an interlace or wo en pattern for royalty! % chec$erboard pattern may symboli'e $nowledge or human intelligence! The 'ig'ag pattern is often associated with the path of ancestors and or serpents! It can also reference the orisa Shango# who controls the thunderbolt >Aemberton# 55-58# :9@! %n ibeji robe co ered only in cowries is reminiscent of those worn by Shango priests# as well! &undles of cowry shells# worn at the wrists or an$les# always signify wealth instead of a particularorisa! >Stoll# 6<-65@! No aesthetic addition is without significance! .olor is li$ewise used symbolically and ornamentally! .olorful beads are used ubi,uitously as a mar$er of the pri ileged ruling class who once controlled the trade routes# and hence could readily ac,uire beads! The primary colors of a garment or decoration may identify a particular orisa which is significant to the twinKs family# in o$ing its protection while honoring the god! % wide ariety of colors may still be used to call attention to the figureKs status and importance! This added attention may also bring wealth to the family >Aemberton# 58@! &eads adorning the nec$ or waist of the ere ibeji symboli'e the patron orisa of the mother or family! % common color combination is red and white# symbolic of the balance of iolence and calm credited to Shango# but also to twins themsel es! 2ar$ blue is often used to balance red# standing for calm# serenity and a depth of wisdom or mystery >.olgate Jni ersity# 56-5:# 88-8?@!

%beo$uta 2ar$ blue applied to the figureKs head is usually deri ed from indigo# elu# a pigment which can be deri ed from a ariety of plants# mainly of the family Indigofera! This pigment may be produced synthetically# as well! %nother commonly used dye is Ric$ets blue washing powder# which is fi+ed to a waji cloth and rubbed against the ibeji hair >indigopage!com4 .hemeche/0a$aye@! The same ritual would be performed on a li e twin as documented during the nineteenth century custom# Fwhereby mothers too$ a child born through the intercession of the thundergod and said U/oo$# Shango# this is the child you ga e me#K had a ram $illed for se en days of feasting# and the child painted with camwood and his head painted with indigoG >Thompson# 55-5?@! .amwood powder osun is deri ed from the tree &aphia nitida# found in "est %frican countries! The dye comes from the bar$ and heart of the tree# and li$e indigo it is soluble in al$ali solution# ma$ing it a fa orable counterpart for application! The red camwood powder color may signify Shango for some families# and is used to decorate and protect the ere ibeji >Cirtual &otanic )arden4 .olgate Jni ersity# 88@ 0ood and drin$ also become material to the ere ibeji through ritual feedings done by the mother# or another family member! These feedings happen e ery fi e days to a wee$# though may occur more often! Suitable twin foods

include epa# ground nuts# a$ara# fried corn meal ca$e# isu# fried yam# $ola and ire$e# sugar cane >.hemeche/0a$eye@! *ost importantly# ewa# a blend of beans and palm-oil is the twinsK fa orite food! Ewais said to soothe the hotheaded twins and cool their stomach# thought to be the seat of anger in Yorubaland! This pacifying mi+ture is also found on shrines to orisa Eshu# the tric$ster >1oulberg# 88-89@! Carious solitary adornments are employed as protection for the ere ibeji! &ron'e# brass or iron rings can be obser ed at the wrists or an$les of an ibeji# and symbolically restrain the restless twin spirit! *etal bands are particularly seen if the ere ibeji has a sur i ing twin# because should the spirit escape to the spiritual world it may tempt its twin to do the same! &ass bracelets representing the ri er goddess Oshun are used to bring fertility! Special metal flared an$lets are thought to ward off %bi$u spirits# the spirit of a single twin which is continuously reborn to the same mother# also capable of tempting the twin to its death! Impressions of these same decorations may be car ed into the wrists and an$les! Aalm-nut waist beads offer guard against disease! /i$ewise# an Islamic amulet tirah is often car ed# though sometimes worn# to protect the ibeji from illness and ad ersity >1oulberg# 8?@! "hen necessary# lead or sil er nails may be dri en into the face to protect the car ed eyes from se ere wear due to handling! /i$ewise# metal brac$ets and nails can be used to preser e deteriorating features of the ere ibeji whose wood may ha e split or bro$en >Stoll# 5<9@! "ith time# new materials and con entions become more incorporated into the cult of the ere ibeji! (ust as traded glass beads entered the tradition of adornment in %frica during the se enteenth century# so too are new pigments! Non-traditional camwood substitutes such as chal$s# powders# synthetics or acrylics ha e been seen on ibeji handled in the customary methods along with as well as indigo! Omolangidi are long-established dolls in Yoruba culture# but can be used as ere ibeji and in ol ed in the same ritual rights! These simplified forms with naturalistic heads can be easier to care for than traditional car ing in some cases! *anufactured plastic dolls are readily a ailable in Yorubaland# often made in Nigeria! This ariation is not as shoc$ing considering that traditional omolangidi are also replacing ere ibeji >1oulberg# 8H-86@! The least con entional substitute for ere ibeji is the photograph# becoming especially pre alent among .hristian and *uslim parents >1oulberg# 8H-86@! The e+tent to which photographs are ritually treated is not readily $nown# though photographs are a celebration of twindom that e+tends beyond the Yoruba! 2ouble portraits can commemorate many different relationships# but the similarity between these and actual twin pictures or photo ibeji is considerablepossibly ma$ing it too difficult to distinguish! One mar$er of photo ibejiis the use of identical reproduction on the same photograph due to the deceased twin! This can be achie ed with a double e+posure on film# the use of a mirror# or a

duplicated print of a single twin! These photos can also be commissioned to mar$ an important e ent such as a birthday# success or an anni ersary in which it would be shameful not to recogni'e the deceased >*icheli# HH-;8@! Jse of these non-traditional substitutes may happen for a number of reasons! *ost pre alent is the e+ception sought by *uslim or .hristian Yoruba that bypasses the babalawo# who would ascribe the full ritual obser ation of the traditional ere ibeji! This allows the family of the deceased twin to practice the unorthodo+ habit s of the surrounding area! The price of commission or ease of access to a substitute figure ersus the traditionally car ed statue may also influence the family! It is undisputed# howe er# that there is ritual and religious significance to these substitutes >1oulberg# 8H-86@!

"or$s .ited -Stoll# *areidi and )ert! Twin 0igures of the Yoruba! )ert and *ereidi Stoll3 )ermany # 5:;<! pp 8D-??D! -*icheli# %ngelo .! 2oubles and Twins3 % New %pproach to .ontemporary Studio Ahotography in "est %frica!%frican %rts# Spring 8<<;! pp HH-;9! -1oulberg# *arilyn 1ammersley! Ibeji Images of the Yoruba! %frican %rts# Col! 6# No! 5 >%utumn# 5:6?@# pp! 8<-:8! -Aemberton# (ohn III! %frican &eaded %rt3 Aower and %dornment! Smith .ollege *useum of %rt3 Northhampton# *%# 8<<;! pp ?-5<9! %frican Shapes of the Sacred3 Yoruba Religious %rt in the /onyear *useum of %nthropology! .olgate Jni ersity3 1amilton# NY# 8<<H! pp ?-8;! Thompson# Robert 0arris! Sons of Thunder3 Twin Images among the Oyo and Other Yoruba )roups! %frican %rts# Col! D# No! ? >Spring# 5:65@# pp! ;-;<! .hemeche/0a$aye

Oro Babatunde Lawal. jwp: The Dialectics of Twoness in Yoruba rt and !ulture" African Arts #$prin% &''(): *+. Aee$# Ahilip *!Aee$! F.ouples or 2oublesN Representations of Twins in the %rts of%fricaG %frican %rts >Spring 8<<;@3 5:!