Twinning and ibeji figures in African Art
by Jacquie Wallace
Wallace 2
From infanticide to joyous celebration, throughout Africa there are extremely
differing opinions and reactions to the birth of twins. Author and researcher Philip M. Peek explains the disparity in reaction to birthing twins specifically in African cultures stating, “How could one society, such as the Igbo of eastern Nigeria, revile twins so much as to kill them and shun the mother, while another society, like the Nyoro of Uganda rejoices with songs and prayer for more twins?1”. The research behind the polar opposite reactions to the birth of twins is put into quantitative results when described as, “For sub-‐Saharan Africa, Pison identifies approximately forty-‐one cultures that accept twins, twenty-‐six that condemn them and some forty-‐five that display mixed responses.2” In Yoruba, Nigeria the rate of twinning is extremely high, as is infant mortality. Out of every one thousand births between thirty-‐five and fifty are born twins3. Yoruba’s rate of twinning is four times higher than the rate in Europe4. Today twins in Yoruba are celebrated. Due to the fact that two children are formed through normal sexual intercourse, they can be described as ‘gifts from God’. This positive rejoice was not always the case. Before twins were so praised within the Yoruba culture, it has been said that they were detested, and were the reason for infanticide5. Some research claims that the negative reactions to twins, was due to the idea
1 Peek, Philip M.. Twins in African and Diaspora cultures double trouble, twice blessed. Bloomington, Ind.:
Indiana University Press, 2011, 1 2 Peek, Philip M.. Twins in African and Diaspora cultures double trouble, twice blessed. Bloomington, Ind.:
Indiana University Press, 2011, 4 3 Chemeche, George, John Pemberton, and John Picton. Ibeji: the cult of Yoruba twins. Milan: 5 Continents,
2003, 31 4 Kahan, Leonard, Donna Page, and Pascal James Imperato. Surfaces: color, substances, and ritual applications
on African sculpture. Bloomington: Indiana University Press, 2009, 262 5 Chemeche, George, John Pemberton, and John Picton. Ibeji: the cult of Yoruba twins. Milan: 5 Continents,
2003, 31
Wallace 3 that only animals should have multiple births. For a human this was seen as an abnormal birth, and the young were equated to monsters6.
Today twins in Yoruba are honored and praised; images such as figure 1 are typical
in Yorubaland. The transition from such negative reactions towards twins to the positive responses is not completely known. There is one story that is commonly repeated throughout historical research. It begins with a family who gave birth to twins in a different country than their own. Since the country they were in did not condone killing twins, and their country did, they were unsure what to do. Therefore, they consulted the Ifa priest on whether or not they should keep them. He told them to keep the twins, but they had to dance around with them every five days. The parents agreed. Each week while performing the ritual everyone took pity on them and threw them gifts. Through this practice the family with twins became extremely wealthy. This began the idea that the twins were the reason for the family’s prosperity7. Now twins are known as sacred during their lifetimes, and seen as becoming future orisa, or deities when they die. If neglected they can bring misfortune to the family, but if taken care of and praised they can bring prosperity and blessings8. The power thought to be held by twins within the Yoruba culture can also be seen through their practices after losing a child. There is high mortality and twinning rates in Yorubaland, and instances of one or both twins dying is commonplace9. Twins are said to 6 Chemeche, George, John Pemberton, and John Picton. Ibeji: the cult of Yoruba twins. Milan: 5 Continents, 2003, 35 7 Chappel, T. J. H.. "The Yoruba Cult Of Twins In Historical Perspective." Africa: Journal of the International African Institute 44, no. 3 (1974): 250. 8 Kahan, Leonard, Donna Page, and Pascal James Imperato. Surfaces: color, substances, and ritual applications on African sculpture. Bloomington: Indiana University Press, 2009, 262 9 Chemeche, George, John Pemberton, and John Picton. Ibeji: the cult of Yoruba twins. Milan: 5 Continents,
2003, 17
Wallace 4 be physically two, but spiritually one10. If only one twins dies, then their spirits are torn in half. The spirit needs a place to go on earth, so that it can remain whole for the living twin. This is the main concept behind the wooden statuettes termed ibeji, an example that can be seen in figure 2. The ibeji acts as a dwelling for the deceased twins soul. There is a fear that if the deceased twins soul is not saved and kept, the living half will want to join it’s partner11. The concept behind the ibeji is one that illustrates with the importance of spirituality in Yoruba culture.
For the Yoruba people their traditional religious and spiritual beliefs span all
aspects of their lives, which include both happenings on earth and spiritual dedication. The two realms can be described as two worlds, spiritual and material, interwoven together12. Orisa are deities who reflect a materialization of God, and can affect the living. Orisa can also be swayed through ritual and devotion. While there are many orisa, Esu is the guardian of the ritual and messenger between all orisa and humans13. He plays an important role not only in the Yoruba pantheon but also as the patron-‐deity of the ibeji. This deep spirituality found in Yoruba aligns with the creation and utilization of ibeji statuettes. They allow for the practice of their spirituality in case of a tragedy, such as losing a child. 10 Kahan, Leonard, Donna Page, and Pascal James Imperato. Surfaces: color, substances, and ritual applications on African sculpture. Bloomington: Indiana University Press, 2009,262 11 Lawal, Babatunde. "The Living Dead: Art and Immortality among the Yoruba of Nigeria." Africa: Journal of the International African Institute 47, no. 1 (1977): 50-‐61. http://www.jstor.org/stable/1159194 (accessed November 19, 2013), 56 12 Kahan, Leonard, Donna Page, and Pascal James Imperato. Surfaces: color, substances, and ritual applications
on African sculpture. Bloomington: Indiana University Press, 2009, 262 13 Thompson, Robert Farris. Flash of the spirit: African and Afro-American art and philosophy. New York: Random House, 1983.
Wallace 5
The spiritual aspect of the ibeji creates a unique duality in the purpose of the
statuette; not only does the ibeji serve as a memorial for the deceased, but also as an active part in rituals. Typically there are separate practices and objects used for a memorial versus a ritual, yet the ibeji has created a combination. To deeply appreciate what the ibeji encompasses, there must be an understanding of its history, its responsibility as a memorial and a ritual, and its role as a work of art.
The word ibeji comes from the combination of two words eji meaning two and ibi
meaning births. The word ere, which is sometimes placed in front of the word, refers to the spiritual images14. The ere ibeji are commissioned by the parents of the twins, when either one or both children die. They are created to play a role, but also to signify a soul and spirit15. Typically it is infant twins who pass away, but if a twin dies as an adult an ibeji can be made so that the souls can stay together. At first, it is the mother of the deceased child who cares for the ibeji, and she does so as if it is still living. It is fed, washed, and even clothed in matching garments to the surviving twin. The family typically feeds an ibeji by putting the food to its mouth, as seen in figure 3. If the living twin is a girl, then once she is old enough she will resume responsibility of taking care of her ibeji16. Figure 4 illustrates this concept, as it shows a living twin standing with her deceased partner who died when she was an infant. Since twins are considered to be spirited children they have more power 14 Kahan, Leonard, Donna Page, and Pascal James Imperato. Surfaces: color, substances, and ritual applications on African sculpture. Bloomington: Indiana University Press, 2009, 262 15 Chemeche, George, John Pemberton, and John Picton. Ibeji: the cult of Yoruba twins. Milan: 5 Continents,
2003, 17 16 Kahan, Leonard, Donna Page, and Pascal James Imperato. Surfaces: color, substances, and ritual applications
on African sculpture. Bloomington: Indiana University Press, 2009, 262
Wallace 6 to bring either misfortune or prosperity to families. Due to this power, twins whether living or deceased are treated with special care and respect.
The function and utilitarian purpose of the ibeji is to at once be both a memorial for
the deceased and a ritual to further protect against misfortune17. The ibeji acts first as a memorial, through its creation in remembrance of the child’s death. One researcher Richard Lander described these statuettes as, “affectionate little memorials.18” They are seen as a place to hold the spirit and soul of the deceased twin, memorializing them on earth forever. In Yoruba culture high premium is placed on having many children19. Since the ibeji is treated as if it is living, it shows that the mother was able to have children, and memorialized children are better than no children.
However the ibeji is not just a memorial of the deceased child; it becomes a part of
ritualistic acts. The ibeji is the focus of worship, not the object20. It is consecrated, washed, fed, and clothed, as a way to honor and praise the ibeji. The rituals done for the ibeji begin as early as the moment the mother realizes she is having twins. The expectant mother will go to an Ifa priest to divine for her and discover what sacrifices to perform to ensure a healthy birth21. The ritualistic aspects of ibejis are very prominent during their creation. There are certain gifts the parents must present to the artist. Also, there is a ritual washing 17 Fagg, William Buller. Nigerian images. London: Lund Humphries, 1963, 126 18 Chemeche, George, John Pemberton, and John Picton. Ibeji: the cult of Yoruba twins. Milan: 5 Continents,
2003, 46 19 Lawal, Babatunde. "The Living Dead: Art and Immortality among the Yoruba of Nigeria." Africa: Journal of
the International African Institute 47, no. 1 (1977): 50-‐61. http://www.jstor.org/stable/1159194 (accessed November 19, 2013), 56 20 Kahan, Leonard, Donna Page, and Pascal James Imperato. Surfaces: color, substances, and ritual applications on African sculpture. Bloomington: Indiana University Press, 2009. 21 Chemeche, George, John Pemberton, and John Picton. Ibeji: the cult of Yoruba twins. Milan: 5 Continents,
2003, 46
Wallace 7 or consecration of an ere ibeji done by the carver before giving it to the parents. The last step of the creation of an ere ibeji is the transfer to the parents, which has an entire ritual ceremony and sacrifice that the parents of the deceased participate in22. Even living twins are considered orisa, because no harm can come to them. If one of the twins dies and an ibeji is created, they are included in monthly rituals honoring the dead. Also, the ibeji may be involved in ritualistic acts to preserve the bond between the deceased and the living twins soul. This ceremony can be described in the following passage: Misery spread throughout the kingdom until the memory of the deceased twin is acknowledged and rites of propitiation and atonement were performed at the graveside and in the presence of ere ibeji. The rites included three slight cuts in the neck of the living twin with the blood spilled upon the grave and the ere ibeji. Such is the bond between the living and the dead that ere ibeji are not merely memorials but embody the presence of the deceased to the living.23 This ritual of creating a bond between the twins illustrates the ibeji’s ability to combine memorials and rituals.
There are plenty of examples around the world of memorials and rituals that are
two separate entities. For example scattered throughout the United States and Europe there are a variety of war memorials. These monuments are created in memory of those lost, yet there is no ritualistic aspect to them. Attending a Christian church can be seen as solely ritualistic. You attend, pray, and devote. There is no aspect of church that is memorializing someone. So where else is there this combination of memorial and ritual? In Western funeral traditions there is this similar concept of combining memorial and ritual.: a ceremony to remember a lost loved one being the memorial aspect, and the actual 22 Chemeche, George, John Pemberton, and John Picton. Ibeji: the cult of Yoruba twins. Milan: 5 Continents, 2003, 28 23 Chemeche, George, John Pemberton, and John Picton. Ibeji: the cult of Yoruba twins. Milan: 5 Continents, 2003, 47
Wallace 8 ceremonial process (which varies for each religion) being the ritual. Also, funerals in some religions are seen as ways to put the deceased to rest, or send their souls to the after life. This combination of memorial and ritual mimics that of the combination found through the ibeji.
While the ibeji serve a utilitarian purpose as a ritual and memorial, they also need
be to viewed and analyzed as works of art. As described by William Fagg in his early studies of Yoruba art, the thousands of ibeji figures seen throughout household shrines and in the large collections of museums “reveal the individuality of the Yoruba carvers’ hands with reference to an unvarying subject matter.24” In figure 5 we see Lamidi O. Fakeye , a carver in his workshop creating a unique work of art, within the subject matter constraints. When commissioning the ibeji the parents do not get to directly consult with the artist; rather they are directed to a Babalawo, an Ifa priest, who will help consult the carver25. Typically ibejis are carved wooden figures standing in the nude with their arms at their sides26. They all stand about ten inches, with a similar posture27. The surface of the ibeji reflects the care, beliefs, and devotion of their caretakers. There are some ibeji who are carved from lighter wood, and the darkness of their skin shows the devotion and care they have been given28. The artist has full discretion in the aesthetics with the exception of lineage markings. There
24 Chemeche, George, John Pemberton, and John Picton. Ibeji: the cult of Yoruba twins. Milan: 5 Continents, 2003, 17 25 Chemeche, George, John Pemberton, and John Picton. Ibeji: the cult of Yoruba twins. Milan: 5 Continents, 2003, 27 26 Meyerowitz , Eva L.R.. "94. Ibeji Statuettes from Yoruba, Nigeria ." Man 44 (1944): 105-‐107. http://www.jstor.org/stable/2791987 (accessed November 20, 2013), 106 27 Fagg, William Buller. Nigerian images. London: Lund Humphries, 1963, 79 28 Kahan, Leonard, Donna Page, and Pascal James Imperato. Surfaces: color, substances, and ritual applications on African sculpture. Bloomington: Indiana University Press, 2009, 262
Wallace 9 is a range of personal expressions that artists accomplish even through these constraints29. They become personalized through the devotion of their caretakers, giving them a more human appearance. One approach to personalizing ibejis is through decoration. Some decorate them with cowry shell necklaces, or clothing covered in beading, as seen in figure 6. The cowry shells on an ibeji symbolize the capability of the ibeji to generate prosperity and wealth for their caregiver. The beads and brass are placed on ibejis, as shown in figure 7, as a way to honor the orisa Aro, the deity who protects children from being lured to death30. While ibeji are used as a way to house the soul of a lost twin and serve a utilitarian purpose within the Yoruba culture, they also are a work of art. They are sculptures that while maintaining a consistent concept vary immensely depending on the artist and area.
The idea of the ibeji began centuries ago, but is still practiced today. There are
photographs that illustrate some modern modifications made to the concept of the ibeji. While the idea of having a dwelling for the deceased twins soul is consistent, the carving seems to vary. In figure 8 we can see a mother who has her living twin on her back, and carries her modern version of an ibeji, which is a baby red doll, against her chest. In figure 9, we see a mother who carries one live twin as well as her version of an ere ibeji, which is just simply a wooden cylinder. These images illustrate the meaning of ere ibeji has stayed consistent, but the representation may have transformed.
The creation of an ere ibeji happens when one or both twins in the Yoruba culture
die, as a way to preserve their souls. This practice created a duality of purpose for the ibeji, it acts as both a memorial and as a ritual. All of the history, spiritual importance, and visual 29 Fagg, William Buller. Nigerian images. London: Lund Humphries, 1963, 79 30 Kahan, Leonard, Donna Page, and Pascal James Imperato. Surfaces: color, substances, and ritual applications on African sculpture. Bloomington: Indiana University Press, 2009, 262
Wallace 10 analysis of the ibeji are significant in understanding the role they play within the Yoruba culture.
Figure 1 Yoruba mother holding her twins Town of Share, North Oyo Photograph by Deborah Stokes, 1980
Wallace 11 Figure 2 Ibeji pair Ilorin, Kwara State Galerie Noir d’Ivoire, Paris
Figure 3 A Yoruba woman feeding ibeji memorial figures Selia Alaka, town of Ikoyi, Ogbomoso Photograph by Deborah Stokes 1980
Wallace 12 Figure 4 A living twin with the ibeji figure of her dead partner who died while she was still an infant Photograph by Father Kevin Caroll 1960s
Figure 5 Lamidi O. Fakeye in his workshop, Ibadan Photograph by John Pemberton III 1971
Wallace 13 Figure 6 A young woman with the memorial figures of her deceased twins Selia, Alaka, town of Ikoyi, Ogbomoso. Photograph by Deborah Stokes 1980
Figure 7 Ibeji Pair Horin, Kwara State Private Collection Paris
Wallace 14 Figure 8 A Yoruba mother holding her son and a simple cylinder wood represents his deceased twin partner Photograph William Fagg 1950s
Figures 1-8 are from Chemeche, George, John Pemberton, and John Picton. Ibeji: the cult of Yoruba twins. Milan: 5 Continents, 2003.
Figure 9 Africa Explores: 20th Century African Art, by Susan Vogel.