folaranmi stephen introduction

Journal of Arts and Ideas [2002]

Fọlárànmí Stephen

THE OYO PALACE MURAL: VISUAL COMMUNICATION WITH SYMBOLS BY

FOLARANMI STEPHEN INTRODUCTION In recent years there have been several studies on traditional Yoruba shrine paintings by various scholars. Emphasis has been mainly on shrine walls and the religious importance. Little mention has been made in respect of the Oyo palace mural and other murals in Yoruba private houses. The Oyo palace mural is one of the most spectacular murals in Yoruba land, in fact, not many palaces in Yoruba land can boast of having murals on their walls. While many of the shrine paintings are similar in their approach, the Oyo mural has numerous realistically rendered symbolic images different from the other murals. However, no deliberate attempt has been made to interpret these images in the Yoruba context, and their importance in Yoruba cosmology. To fully understand the theme and composition of this mural, this paper sets out to: 1. Examine the importance of these images in the execution of the mural. 2. Decipher the symbolic images and motifs in the mural as they relate to the Aláàfin (King of Oyo). 3. Present these images and symbols as a means of visual communication known and identified by the Yoruba people before the widespread of written language.



ART IN OYO PALACE Art in a Yoruba palace is a very important aspect of the palace. Wealth and political power in the hand of the central government frequently resulted in splendid renaissance of the arts. This is displayed by the Oba, chiefs and their relatives who commemorating themselves in art: an art with special and royal characteristics. (Brain, 1980 : 11). The most visible and important are the architectural decorations; carved panels and doors, house posts, wall relics, murals as well as tiled floors. Most of the sculptural figures are for religious purpose and are found in shrines, Murals are also found on these shrine walls. The late Aláàfin of Oyo Oba Siyanbóla Oládìgbòlù, was a great lover of art, there are significant evidences that he commissioned most of the art works in the Oyo palace. True to the earlier statement by Brain, these artworks have outlived him. Through some of these fascinating pieces we are able to tell of whom Aláàfin Ládìgbòlù was, most especially the beautiful mural on the walls of the entrance porch (Ojú Abata) of the Oyo palace. (Plate 1) Aláàfin Ládìgbòlù also commissioned this mural in the early 1930s.

THE MURAL The mural primarily chronicles the attributes and activities of the Aláàfin. Every attempt is made to represent all that goes on within and around the aafin in veneration of the Oba. According to an informant, who he declared that most of the animals 93



represented in the painting were animals kept by the Aláàfin who commissioned the painting. Some of the animals represented were gifts from hunters, friends and Obas subjects from far and near. One of the most conspicuous images on the mural is the Ostrich. History has it that as recent as the late 1950’s, Aláàfin Adeniran Adéyemí had ostriches within the palace grounds (Adepegba, 1989:26). Horses were a common sight in the palace in those days. A special courtyard was even set aside for horses within the palace ground. (Kaa Esin). The tortoise represented is also one of the animals that were kept in the palace; the big tortoise can be seen within the palace courtyard till date. Apart from the animals, royal paraphernalia like the state umbrella, sword, staff, Kakaki and human figures in different postures are realistically painted. The painter had carefully embellished the wall with images so important to his immediate society. Without any doubt, he had drawn his inspiration from all these animals and their symbolism to the Yoruba society, most especially as it relates to the Aláàfin. The inspiration and the choice of images link this particular painting with other Yoruba traditional wall paintings done in veneration of the different deities.

MEANINGS AND INTERPRETATION To fully understand the theme and composition of the Oyo palace mural, it becomes imperative to examine the meaning and symbolic interpretations of the images in the mural. While some 94



of the images were painted to chronicle the activities of the Aláàfin, many others were chosen to reveal the attributes, power and authority of the Oba. These images “are symbols used to illustrate proverbs, tales, folklore, myths, stories and express both the culture and wisdom of the people” (Parrinder, 1967:13). The images on the Oyo palace mural are a complete composition of man, his religion and entire environment. These include zoomorphic, and anthropomorphic images alongside other royal and state paraphernalia.

ZOOMORPHIC IMAGES Throughout recorded history, man’s feelings about animals have been complex, changeable, made up of fear, admiration, greed, cruelty and love (Clark, 1977:13). Animals, both wild and domestic, have been very important to the whole human race. Yoruba Kings are however known to prefer wild animals for their motifs. To the Yoruba people, certain animals are seen to posses some physical powers, and sometimes spiritual, which can be emulated or associated with all the power and authority of some humans. This Yoruba belief confirms Parrinder’s claim that “man is in the middle of all the powers that be and must live in harmony with all those powers that affect his life, family and work ”. Those powers, he said, are extended to the animal world, for it is believed that animals have great forces, which need to be watched and harnessed if possible (Parrinder, 1967:15). 95



There is also a belief that some of the animals were like humans and it was only time and destiny (ayanmo) that changed them (Aremu, 1979: VI). There is however no scientific proof to this claim; it only finds a relationship with the theory of evolution. In some cases, these animals are respected and associated with leadership. One of such animals on the Oyo palace mural is the elephant called erin or ajanaku in Yoruba language. The elephant is the largest and strongest land animal. It is however, tethered to posts, which is contradictory to the Yoruba proverb that states that “Àjànàkú ko ni eekan, Oba ti yoo mu erin so ko tii je” –“The elephant has no post to which is tethered; the King that will etcher the elephant has not been crowned”. This thus shows the greater powers of the Aláàfin over other Obas, more so, when he is described as “Alase, Igba keji Orisa” –“one with authority next only to the gods”. This in reference to the Aláàfin shows him as the all powerful amongst the other Obas. The elephant inevitably appears in some of the animal fables among the Yoruba. In “A o merin joba”; the elephant becomes a sacrificial animal. The Ori1 of the Oba was replaced with that of the elephant, confirming Parrinders’ view of harnessing the power of the animal if possible. In summary, the elephant symbolizes power, strength, authority, and wealth. (Plate 2) The Antelope (Egbin) also depicted tethered is known for its

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Ori in Yoruba traditional belief is seen as the destiny of the individual which needs to be adored.

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long horns which symbolizes àsẹ, (life force) because it is the traditional container for àsẹ, a kind of medicine which makes wishes and utterances to materialize. Ase as a word, means authority. It can therefore be said that the Oba, rules his people through àsẹ that emanates from the horns of the antelope, hence the Yoruba say: “Oba ti pa àsẹ,” the king has commanded or has authorized. The antelope can also be said to be a symbol of beauty. In relation to the art whose instance the mural was executed, there is no such beautiful palace, mural or even kings as the Aláàfin. He is the embodiment of beauty (Plate 3). The Leopard (amotekun) a very ferocious, wild animal with long claws is associated with leadership like the elephant and Lion. It is also tethered, making it the third wild animal depicted. The Yoruba people also refer to the leopard as “the king of the forest”. In a Yoruba proverb it is said that: “Bi ajá bá ri oju ekun a pa lolo” (when the dog sees the countenance of the leopard it keeps quit). This signifies the fear that grips other animals on sighting on the leopard. This fear is likened to what one experiences in the presence of the Aláàfin even in this modern time, not to talk of when the sanctity of the Obaship was still upheld. In fact, one is not supposed to look into the eyes of the Aláàfin in his presence. The enormous strength and the authority the Aláàfin wields are symbolized; in the leopard skin at the foot of his throne, on which he steps before sitting on the royal throne (plate 2).

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The Tortoise (Ijapa) is the expression of Yoruba folk tradition. It is therefore synonymous with wisdom, perseverance, old age and quietness. In most cases, it also symbolizes greediness and selfishness. The tortoise is a potent metaphor often adapted to teach morality and specifically directed at children (Campbell, 1995: 27). When a person is referred to as: “ologbon bi ti Ijapa”- (wisdom compared as that of the tortoise), the person in question is immediately known to be crafty, shrewd and a trickster. Adeboye Babalola apotheosizes the importance and position held by Ijapa in Yoruba animal tales in the collection of “Aalo Ijapa”. It is so difficult to find an aalo in which Ijapa is not involved (Babalola, 1979). With reference to the Alaafin, the wisdom with which he rules can sometimes be compared with that of Ijapa. On different occasions, Alaafin Sango, in dealing with Gbonka and Timi of Ede, exhibited the tricks and craftiness of Ijapa. To the Osanyin cult, Ijapa is a sacrificial animal (plate 4). The Horse (esin) is the universal symbol of strength, power, and transportation. It also symbolizes wealth and ruling power. It suggests war and an affinity with force or strength that is derived from the horse, “agbara Esin”- horse power (Thompson, 1963: 7479). The harnessed power of the horse can therefore be equated with the strength and power of the Alaafin as a great leader and warrior. The Yoruba language is exceptionally rich is proverbs, in their social exchanges; they believe that it is inappropriate to ‘speak with the whole mouth’. They speak with the power and

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context of proverbs: “owe l’esin oro, bi oro ba sonu owe la fi n waa” proverbs are the horses (power) of speech: if communication is lost, we use proverb to retrieve it’. This is way of introducing proverbs into conversation. It describes or relates the power of the Yoruba proverbs with that of the horse (Linfors et al, 1973:1). In another proverb: ‘Esin iwaju ni ti ehin n wo sare’- ‘The training horse not only sets his pace by the leading horse, but he is expected to keep up with him’. The relevance of this to the Aláàfin is the expectation that he leads while others should follow his good and credible examples. The Chameleons’ (Agemo or Oga) most striking characteristic is its mysterious ability to change its colour according its surrounding. This signifies the trans-formative powers of the Oba. (Drewal et al. 1998:66). Its trans-formative power is likened to ability to neutralize or defeat powerful enemies. Agemo, among the Ijebus, symbolizes powerful curses and medicine. (Drewal et al. 1981:121). Lizard (Alangba) The lizard is an important design element in Yoruba visual art tradition; it is an integral part of the images of major Orisas in Yoruba land. It is used in rituals and in preparation of efficacious medicines. (Campbell, 1995:27). It also features in many traditional folklore and proverbs such as: “Opo alangba lo da kun de le a o m’eyi ti nu run” - (several lizards lie on their belly, the one with the stomach pain cannot be identified). The interpretation being that you cannot specifically discern the thought, feelings and plans of people towards you, therefore you

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must be very careful and watchful. The wall gecko (Omo onile) very similar to the painted lizard, on the other hand has been found to be a motif used by women troubled by abiku, (born to die children’) and because a wall gecko will never leave the house- “Omo onile kii kuro ni ile re” - the child will live to an old age. (Aremu, 1982:8). It therefore symbolizes long life, long life is one of the most important wishes for Alaafin’s subjects: ‘ki ade pe lori, ki bat ape lese’ – ‘may the crown last long on the head; and may the shoes stay long on the feet’. The Crocodile (Oni) represents all the beings in the river, as an amphibian, this gives it the ability to live on land (region of man) and water (region of Olokun: an important deity). This quality is represented in Aláàfin, who is seen as the mediator between his subjects (man) and the orisas. It also functions as a metaphor of a powerful leader, the source of wisdom and organizational talent. (Duchateau, 1994:64). In Sango cult, the representation of Lizard, Gecko and Crocodile symbolizes provocation and the capability of attracting thunder. They are the provoking agents behind the anger of Sango. Sango, the Yoruba god of thunder, is one of the deified Aláàfin of Oyo. (Nasiru, 1989:127). The circular Snake icon (ejo) is a common feature on Yoruba and Dahomey carved panels and doors. It is a symbol of regeneration, long life, potency, truth, fierceness, wrath, wealth and guile. It features as a totem of nearly all the volatile tempered Orisa as a symbol of their swift retributive powers.

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(Campbell, 1995 : 27). The snake is also a symbol of a ‘neverending’ world; when upright, it is integrated into the symbolism of the vertical axis connecting the earth with the realm or the spirits, (Parrinder, 1967:23). The significance of the snake icon to the Aláàfin is also revealed in a Yoruba myth recorded by Ulli Beier, where Oranmiyan, after an unsuccessful war against the Nupes had to follow a boa constrictor at the instance of the king of Borgu. It was at the spot where the snake entered the ground that old Oyo Empire was established and Oranmiyan became the first Aláàfin of Oyo (Beier, 1980:24) (plate 6). The Hare (ehoro) is among the domestic animals kept in a large number by the Aláàfin for the production of meat as a delicacy for the Oba. It is however one of the most familiar animals of the African scene and appears in several animal fables and myths. It is noted for its swiftness, speed and symbolically presented as such. It also represents the ordinary man faced with more powerful beings, winning by his cleverness, cunning, deceit and triumph (plate 7). Birds (eye) are a favourite and consistent metaphor in Yoruba literary and visual arts tradition, it is the icon of authority, it is the ase (life force) of Orunmila, and in Ifa it symbolizes the diviner’s ability to chant and also represents ancient diviners. (Drewal et al, 1981:23). Birds also symbolize the mystical power of women known affectionately as “awon iya wa” (Aje) – witches. Birds on crown and staff of office of Obas signify that the king himself rules only with the support and cooperation of “awon iya wa” - (Our mothers). Two types of birds have been 101



identified on the mural – ostrich and egret. The Ostrich (Ogongo) icon is the most prominent of the images of the mural. Ogongo is associated with leadership; to the Yoruba, it is the king of birds – “Ogongo baba eye”. It is therefore not surprising that the Aláàfin kept these birds in his palace meaning, he, the Aláàfin ‘the king of the kings’ in Yorubaland (plate 8) The large number of Cattle egret (Lekeleke) on the mural gives a testimony of its abundance in the Oyo area; they are usually found where cattle are grazing, and could be found alone. It is sometimes associated with witchcraft like other birds and could also be said to be a symbol of neatness, “despite its vulnerability to dirt, it is always found clean”. (Adepegba, 1981:4). On a final note, birds also symbolize a confrontation between good and evil: darkness and daylight. (Duchateau, 1994:64) (plate 9). ANTHROPOMORPHIC IMAGES The human figures are not as numerous as the animals. They are specifically personal attendants, (Ilaris) servants, and visitors to the palace. Some of the visitors are European and could probably be Captain Alston Ross and others. Captain Ross was a very good friend of Aláàfin Ládìgbòlù and was very instrumental in persuading the Oyo-mesi to crown Siyanbọ́ lá Ládìgbòlù after his father’s death. The two prostrating figures (on plate 2) represent or depict the Yoruba traditional way of greeting. It is sign o f respect, 102



honour and worship to the king. Nobody comes before the Oba without performing this rite. Plate 8 shows a group of figures in procession, probably the king holding the flywhisk, (Irukere) and attendants holding a royal umbrella over his head. Another significant image is the figure with bow and arrow. This has been identified as either a warrior or hunter. (Babalola, 1967): mentioned that “The progenitors of Olu-Oje were brave elephant hunters using spears, bows and arrows”. They killed elephants for the queen in Oyo Ile. Equally important is the figure holding a gun that is also related to hunting and modern warfare (plate 9). ROYAL PARAPHERNALIA The royal costume of the Oba is made up of several royal items from utilitarian to symbolic ones. On most outings, these items are carried along with the Oba. The most significant of these is the crown. It is the most priceless artistic and symbolic treasure of the Oba. It is the principal symbol of a king’s authority. A crown with veil symbolizes the inner spiritual head (Ori-Inu) of the king and links him with his entire royal ancestors who have joined the pantheon of gods. (Drewal et al.1989:33). The painting of the crown in the middle of the entire mural and above all other images signifies that the artist recognizes that every other image revolve around the crown. The throne of the Oba is a symbol of the supreme seat of the empire. It symbolizes the king and the sovereignty of the kingdom. This is evident when people prostrate before the throne even when the Aláàfin is not yet seated. It is a symbol of 103



authority and of the establishment of the monarch. The throne’s elevation above other seats in the palace confirms all these attributes. Irukere (Horse Tail) is a specially prepared cow tail or horsetail of spotless white. It is a symbol of peace and grace. It also symbolizes greeting from the Oba, for when the Oba is greeted he stretches the Irukere forward to the person. When the Oba uses it to touch a person’s head it becomes a blessing. It is equally used to acknowledge ovation. The Sword depicted on the mural is one of the royal beaded items made for the Oba by Alabebe, (the painter). According to an informant, “a sword of mercy was usually placed on the Obas (Aláàfin) hand by Iyakere during coronation”. There is also, a ‘great sword’ or ‘sword of justice’ which must be brought from Ile-Ife during the coronation of any Aláàfin. It symbolizes power and authority. The sighting of a sword may also symbolize war and trouble. (Johnson, 1976:45-46) (plate 10). The Umbrella is part and parcel of state paraphernalia; the elaborate size and quality easily differentiate the royal umbrellas from individuals. Most umbrellas are decorated with choice emblems, indicative of rank. It is a symbol of wealth, shelter and all encompassing or embracing (plate 8). Kakaki (Trumpet) is a musical instrument used only by the king musicians on his entourage. The Yoruba often say, “Eni to gbe kakaki Oba, oku ibi ti yoo ti fon” - (He who steals the kings’ kakaki has no place to blow it). When the kakaki is blown, it

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signifies that the Aláàfin is either going out or returning to the palace, it is a call to paying homage to the Oba while he is passing by. The kakaki can therefore be referred to as a royal trumpet. The chain, depicted on the mural is not among the royal paraphernalia, it was used to tether the animals kept in the palace. It thus symbolizes bondage, slavery and captivity. In the ogboni cult, it symbolizes the joining together of a male and female to make a pair of the edan figures. It symbolizes oneness. (Drewal et al.1989:38). Through the execution of this mural, the artist leaves no one in doubt that he knows the tradition of his people and has so recorded it is visual representation (plates 2 and 3). CONCLUSION The Oyo Palace mural is certainly one of the most beautiful and important wall painting in Yoruba land. The images on the mural are very numerous, (about 230 images), in addition they are also representations and symbols of Yoruba gods. The mural therefore portrays these attributes, since the Aláàfin is an embodiment and a representative of these Yoruba gods, Alase Igba Keji Orisa – One with authority next only to the gods). This mural has shown that the images were tools of communication among the Yoruba people before their contact with Europeans. It also goes to confirm Parrinder’s statement that African art was the only writing known in the whole of tropical Africa. It was used to interpret life in every aspect; it shows man in his stages 105



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Figure 1 Some of the symbols commonly depicted on shrine/ wall paintings in Yoruba land. Some of them are exclusively found on the Oyo Palace Mural. (See summary of their meanings below). (1) Divorce or separation (2) War, judgement (3) War, warrior, hunter (4) Shelter and wealth (5) Bondage, subjugation; couple bond between man and a woman in the Ògbóni cult (6) Islamic plate – foreign element (7) Public area, great generative power, power to the other world (8) Heart (9, 10) Protective powers and Individual destiny (11) Pathway between man and the gods; dots symbolizes Odù in the Ifá cult (12) Wealth and riches (13) Moon (14) Lizard, gecko or crocodile: long life, provocation in Sango cult, powerful leader, organizational talent (15, 16, 17) Snake: Yoruba universe, unending world and swift retributive powers (18) Chameleon – transformative powers, powerful curses (19) Tortoise: perseverance, old age, wisdom and craftiness (20) Antelope: beauty, supernatural powers and life – force – àsẹ. (21) Elephant: power, strength, authority (22) Hare: trickster and clever (23) Leopard: bravery, fierceness and authority (24) Birds: confrontation between good and evil, potency and witchcraft (25) King of birds, leadership (26) Sun: light (27) human figure (28) Crown: kingship, authority (29) Ifá diviners rosary (30) Embroidery design – foreign element (31) Stars (32) Horse: ruling power, prestige (33) Cone: image for àsẹ (life force) home spread in creation myth, ilé orí (house of head-destiny) (34) Kàkàkí-trumpets or flute (35) Staff of office- authority, ruling power (36) Ìrùkẹ̀rẹ – horsetail: peace and grace.

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Plate 1

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of existence-birth, life and death. (Parrinder, 1967:13). While so many proverbs, myths, legends, orikis and other source of historical data may have been distorted or entirely lost through the ages, the images painted on the mural are shown as symbols of language used and depicted by the Yoruba people as a means of communication. More importantly, is the unraveling of the mystery behind the purpose of this mural. European scholars and the early Christian missionaries who first came in contact with African art were quick to conclude generally about the functions of African art. (Brain, 1980:187), (Leuzinger, 1976:9), and (Bascom, 1973:11) all shared this view. In Bascom’s submission simply implies that, “most African sculptures (also paintings) appear to have been associated with religion”… in other words, this assumption simply implies that; Africans, perhaps would not produce sculptures or murals except for religious purposes. However, the Oyo palace mural belies this assumption that all traditional Yoruba wall paintings were strictly produced for religious purposes. In fact, this mural is a display of high aesthetic traits.

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______________: (1995) “Images and power in sixteen Yoruba sacred Paintings in IFE: annals of the institute of Cultural Studies, Ọbáfémi Awólọ́wọ̀ University, Ile-Ife No. 6. Drewal, H.J. and Masons, J: (Beads, Body and Soul: Art and light in the Yoruba Universe) UCLA Fowler Museum of Cultural History, Los. Angeles. Drewal, H.J. Perberton, J. and Abiodun, R: (1989) Yoruba: Nine centuries of African Art and thought; ed. Allen Wardwell. Centre for African Art, New York. Duchateau, A: (1994) BENIN: Royal Art of Africa. The museum fur Volker Kinde, Vienna. Folaranmi, S.A: (1995) Orisa Popo Shrine Painting in Ogbomoso (Unpublished B.A. dissertation) Ọbáfémi Awólọ́wọ̀ University. Ile-Ife. Johnson, S. : (1976) The History of the Yorubas, Lagos CSS Bookshops. Leuzinger, E: (1995) The Art of Black Africa. New York, Cassel and Collier Macmillan Publisher. Linfors, B. and Owomoyela, O: (1973) Yoruba Proverbs: Translations and Annotations in International Studies African Series No. 17. Ohio University Nasiru, B.O: (1989) Sango Ritual Pottery (Unpublished MFA dissertation) Ọbáfémi Awólọ́wọ̀ University, Ile-Ife.

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Parrinder, E.G: (1962) African Mythology, The Hamlyn Publishing group Limited, London. 1967, p. 13 ______________: (1967) African Mythology. The Hamlyn Publishing Group Ltd. Middlesex Thompson, R: (1963) African Art in Motion; Los Angeles University of California.

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