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The making of Ere-Ibeji

By Elujulo Stephen Olubusola

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The Yoruba in the South western Nigeria are known for having an extraordinarily high rate of multiple births. The rate of twin birth is one of the highest in the world as 45 out of every 1,000 birth are twins. There is also a high mortality rate as half of the twins died at infant.
Some years back, new born twins were believed to be evil and monstrous abnormalities. In order to remedy this problem, the twin babies were killed. Infanticide was a popular practice among the Yoruba during this period. By mid 18th century, a change in practice and belief took place because Mary Slessor thought infanticide was immoral and abrogated the killing of twins. Others believed that something must have happened within the Yoruba culture, this change came from the understanding of Ibeji as a source of wealth.
By the 19th century, Ibeji became fully recognized as a symbol of wealth and power or trouble in that if the family performs the appropriate ritual as directed by Ifa priest, the twins would bring wealth into the family, if otherwise, problem would arise. This metamorphosized into the cult of Ere Ibeji, from Ibi- born, Eji-two, Ere- sacred image.
Ere Ibeji is formed out of the wood of Ire tree. This tree is chosen because of its unique growth as the vast majority of the tree always grows in pairs bearing the same root, while some grow separately. The once that grows in pair are used for the carving of Ere Ibeji. The cutting of the tree is not done ordinarily as it has both the male and female. When the tree is about to be cut for caving, the entire tree is given a rooster(Adie Ilagbe) as sacrifice. The carver in question will have to identify the sex of the tree by facing the risen of the Sun. While in this direction, the particular Ire tree that’s on the right direction represents the male, while the one on the left direction is the female tree.
Carving of Ere Ibeji is done in several steps; first, the log is sized down and major body parts chiseled, leg, arms, base and head which are usually about one third of the size of the body. The artist refines the figure with smaller tools, followed by smoothening of the body. The patterns such as hair styles are then cut. The figure is finally given a facial marks based on the image of the father. The mother upon receiving the Ere Ibeji should never burn the wood of Ire tree again. The leftover scrapping from Ere Ibeji is regarded as very effective medicine by the Yorubas.
After the carving is completed, the artist performs a ceremonial washing of Ere Ibeji while friends and family are gathered, the required payment is made, the Ere Ibeji is placed on a mat in a standing position while the artist recites the blessing or invocation before presenting the sacred image to the mother. At home, the parents must treat the Ere Ibeji as if it were real, so it is bathed, clothed and adorned just as it would be in life. The figure is particularly special to the mother, who keeps the figure close to her bed, she rubs the figure with red wood powder. During the process, the Ifa priest is made to perform rituals in the form of prayers, invocation, oriki and breaking of kolanut. The rituals and prayers are continuous practice during their birthday and other celebrations.
In order to understand African art, one must not consider the former aspects; material, carving, also the aesthetic qualities. For the Yorubas, what makes Ere Ibeji carving more than simple carving is the aesthetic addition. This is: life force(Ase) with which the Ere Ibeji is endowed. This form the divine essense in which physical materials, metaphysical concept and art are blend to form the energy activating and directing sociopolitical, religion and artistic processes.
In Yorubaland, an artwork remains simply a carving not until it has been activated through series of invocation and offering during which Ere Ibeji , in this case is imbued with the spirit of the deceased twins, these offering often continues for generation and are integral part of what makes these artworks, Ere Ibeji as opposed to simply carved figures.
Another aesthetic quality is the disproportionately large head(Ori) of Ere Ibeji which represents the cultural and spiritual significance. The Yoruba attach great importance to the head, as it is a symbol of the personality which controls the destiny of each individual, easy person is said to have his/her own personal Orisa or spirit to whom we pray and make sacrifices. For this reason, the head serves as the focal point for many Yoruba rituals.
Again, through oral tradition twins are seen as special human beings (deity) that are not supposed to be represented as an infant. Other aesthetic values could be seen in their clothing and adornment. Clothing represents the wealth of the twins through the use of cowries and other costly items.
However, every aesthetic addition in Ere Ibeji is full of tangible significance. It has been a record that nowadays the use of non traditional substitute is now prevalent due to the influence of Christian and Islamic religious. These have discouraged many adherents from continuing the traditional practices. The price and the ease of access to a substitute figure has also influenced the decisions of families to conform to their religion belief by creating some simplified Ere Ibeji which appears similar to the traditional carved Yoruba figures.

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