MIDTERM: Tradition in Dogon, Benin, Igbo, and Yoruba Pieces

I have chosen these four objects because I believe they provide ample exhibition of their cultures' traditions and are therefore a fine platform for analysis. "Tradition" I am here defining according to Miriam Webster: "an inherited, established, or customary pattern of thought, action, or behavior."

IGBO JANUS MASK

This mask exemplifies Igbo tradition in both behavior and thought, and, specifically, the intersection of the two. As we learned, the Janus mask exists on the upper level of masking association and is associated with special powers of protection, as the two faces and four eyes can see all sides of the world (not only front and back but also earthly and spiritual); this inherited world view is nothing if not tradition. The contrast in colors suggest a balance, and the elaborate decoration of the coiffures display an attention to detail that connotes the importance of the tool.

But an important and more subtle point may be the Uli markings on the faces of the masks. This body painting is a behavioral tradition that sometimes – but not always – is rooted in belief, playing two parts of the definition of “tradition” interestingly against one another.

DOGON KANAGA MASK

The Kanaga mask of the Dogon is used for a specific traditional function: the climax of the Dama celebration. It represents a traditional belief system and a specfic yet evolving ceremony; similarly, Kanaga masks that we have seen tended to be similar, with slight variation. This one in particular exemplifies traditional associations of white and black: as we learned, white is often associated with the world of the ancestors, and black is often associated with the unknown. Therefore, the colors of this mask are fitting with the traditional behaviors and beliefs surrounding death.

The animal here represented is far from realist, but as we discussed, could be a crocodile, which is believed to aid in the river crossing into the afterlife. It is clearly an animal not only from the positioning of its legs, but also from more subtle features: for example, the shape of the eyes as triangles would never occur in a human, and the angular pattern on the back is also in distinct contrast to decorative or symbolic facial markings.

Tradition, therefore, here takes on the form of spiritual symbolism in visual representation.

BENIN PLAQUE

This plaque’s significance with regards to tradition is particularly interesting, because it provides an explanation not only of religious tradition, but of political tradition, as well. As The Royal Arts of Africa explains, the plaque depicts a palace altar, one dedicated to King Ewuare. But the plaque is not merely political; the religious symbolism is clear. The tower in the center resembles a python, which is traditionally associated with the god Olokun, of wealth and the sea. The tradition therefore of using the power of religion to bless a political figure is embodied in a piece of art place in a jointly religious and political location.

The interaction of religious and political tradition is revealed in the book’s explanation that pythons are also associated with the god of lightning, and that “thunderstones” are also present in the image – significant because Ewuare “is credited with using a powerful medicine to break the ‘thunderstones’ into tiny pieces” (Blier 60). The tradition, therefore, of assigning divinity to kings is embodied in this artwork.

Here we can also see modes of traditional dress. The four figures, presumably priests, sport robes, facial markings, and head dressings. The shapes of the eyes and noses are characteristically Benin, making the piece clearly identifiable according to cultural tradition.

YORUBA VESSEL

This piece is interesting because, at first glance, it might appear to be more practically than ritualistically functional, when compared to the pieces above. But with careful attention to the form of it, it becomes clear that this is not merely just a container. As the book explains, this was an important tool in the Ifa divinations. These divinations at first may seem comparable to the divination associated with Glele that we read about in our week on Dahomey, but instead of determining an answer (such as to the question of which animal to associate a king with), this in particular seems more sacrificial or healing-related in nature. Therefore, a female figure kneels to the guards, with an elaborate coiffure and telltale facial markings, demonstrating the important ritualistic nature of the tradition.

One element of the piece that sparks curiosity is the texturization of the lid. The patterned indentations and their arrangements in rows may suggest something about time, and the number of rows may be significant – but it is difficult to tell.

This point is an interesting one to leave on, as it reminds us of the difficulties in gleaming the details of tradition – behavioral, religious, or otherwise – from art and art alone. As we discussed in our very first class, a lack written records from this region leave us with many questions regarding tradition. But the aesthetic and thematic value of the art itself, while dangerous to conflate into immutable definitions of tradition, certainly hold their own value in our understanding of it.