Quote "Indeed, participation in Gelede is an intense spiritual experience: beating the drums, dancing in costumes, receiving the blessing of the mask, or responding to the music is like being charged with divine energy. It is a feeling of the good life, to be lived and enjoyed to its fullest." Dr. Babatunde Lawal The Gelede Spectacle, pg. 161
The Gelede Spectacle Art, Gender, and Social Harmony in an African Culture By Dr. Babatunde Lawal 327 pp. Seattle and London University of Washington Press. $65.00
By Baba Efundele Olasegun
Richmond, VA
Dr. Babatunde Lawal, formerly the dean of the faculty of arts at Obafemi Owolowo university in Ile-Ife, Nigeria, is a professor of art history at Virginia Commonwealth University in Richmond, Virginia and visiting professor of African and African-American Studies at Dartmouth College. Dr. Lawal is an expert in the area of African Art especially that of the Yoruba of Southwestern Nigeria which he has published a great deal of works on. His most recent work, The Gelede Spectacle, has taken the art world by storm. It is a work that deals solely with the Yoruba celebration known as Gelede which, in essence, honors spiritual and physical African Womanhood in all of it's aspects - both positive and negative. The Gelede Spectacle is illustrated in color and black-and white with over 150 field and museum photographs. In addition, it has more than 60 Gelede songs texts, proverbs and divination verses each in the the original Yoruba as well as in translation.
Especially here in the United States where there are a multitude of purported practitioners of Yoruba culture, The Gelede Spectacle is a must read for anyone who claims to be genuinely interested in understanding the traditions of the Yoruba. The book is well written, easy to read and easy to follow. Each chapter introduces the reader to new concepts while at the same time reinforcing what they have learned in previous chapters. The song texts, proverbs and divination verses are a treasure. They attest to the divine wisdom of our ancestors. In understanding that Yoruba is a tonal language, it is important to note that all diacritical marks (accent marks) have been included which allow the reader to feel comfortable about actually reciting these verses and using them and their meanings in their daily lives.
Dr. Lawal should be given the highest praise for this work because it essentially reconnects us with Iyanla (The Great Mother) to whom Gelede is celebrated. The most important thing to remember when reading this work is that Dr. Lawal is himself a Yoruba. His understanding of what he writes is therefore based on a spiritual connection with his subject matter which reaches deep into his childhood. We should be honored to have an indigenous African share the experiences of his people- a great people with the world because we have relied on others, especially Europeans, to define African concepts for us under the guise of impartiality for too long.
Dr. Lawal introduces the work with the following words; "A good majority of books on African art are introductory surveys that, due to space limitations, can provide only brief generalizations. The religious function of the art is often emphasized at the expense of the social and aesthetic ones- which are no less important. As a result, the reader gets a distorted picture."
Dr. Lawal does a wonderful job of clearing the muddy waters by giving the reader a full understanding of the dynamic interplay of art, dance, music, poetry, religion, etc. in the maintenance of the African cosmos.
In the first chapter of the book, "African Art and the Social Order," Dr. Lawal gives the reader an complete understanding of the purpose ofart in the African context. While most western art is viewed as art for art's sake. Dr. Lawal illustrates why African art is viewed as art for life's sake. He does so by showing illustrated examples from a variety of African ethnic groups. In speaking about the stool (dwa) of the Akan, for example, Lawal writes; "Among the Asante...a stool is believed to share part of its owner's spiritual essence. The stool of a chief are both identified both with the person and the office. Thus the stool of the ruler symbolizes the unity of state and the divine authority invested in the leader." In essence, art is essential in the African mind because it is a means of communicating with both the human and the divine essence of the world. It has no voice yet it speaks a thousand words.
Chapter two, "Iwa: The Dialectics of Yoruba Existence," in my eyes, is the most important chapter in the book. It sets the tone for the book by giving us an understanding of the importance of Iwa (Character/Existence) which is the central moral theme in Yoruba society. We cannot seek to understand the Yoruba world view until we understand that which is lies at its moral center. Character, specially Divine Character (Iwa Rere), is the alpha and omega of Yoruba existence. It is believed that character is all that is needed for one to enter into the gates of heaven. The Yoruba say; "Aiye l'oja. Orun n'ile. (The world is a market place. Heaven is home.) It is only through the cultivation of character that one can expect entrance into heaven. It is character that is most pleasing to Olodumare, God in Yoruba belief. "Character is all that is requisite." In being the central theme in Yoruba culture, it only makes sense that Iwa will be central to the Gelede Spectacle. The Gelede Spectacle celebrates African womanhood and in return the Yoruba ask only that women cultivate Iwa Rere and use their Agbon Aiye (Worldly Wisdom) for the good of humanity as opposed to using it for it's destruction. Most importantly, Dr. Lawal introduces us to the Yoruba term "Ifogbontaayese" which literally means "using wisdom to remake/improve the world. This is our destiny as eniyan (human beings).
"We, as human beings, were the ones Selected by Olodumare to go and Develop the earth. We are the ones specially selected."
In Chapter three, "Ipilese: The Roots of Gelede," Dr. Lawal explores the debate over the origins of the Gelede Spectacle. He starts with the mythical traditions using the Ese Ifa which are the verses from the Odu of the Ifa divination system used by the Yoruba. Dr. Lawal then deals with the historical traditions of origin which have Gelede originating in one of three places in Yorubaland- Old Oyo, Ketu and Ilobi. In this chapter he also investigates the relationship between Gelede and the patron deities of small children (orisa olomowewe). Dr Lawal writes; "It is significant that the iron anklet of the Abiku child is a miniature of that worn by the Gelede Masker...In fact, metal anklets (aro, iku or saworo) similar in size to those of Gelede constitute the principal symbol in many shrines dedicated to Abiku (born to die), Ara'gbo (spirit children/forest beings and Egberun (Spirit Partners)."
Chapter four is entitled "Irepo: Gender and Social Harmony Through Gelede." First, Dr. Lawal writes about Gelede as a means of paying homage to Iyanla (The Great Mother). Dr. Lawal writes; "Iyanla was the primeval sea out of which habitable land emerged at Ile-Ife, the cradle of Yoruba civilization. As Ile (The Earth)...she sustains life, humanity and culture. As an embodiment of good and evil of the physical world, she is Oluwaye (ruler of the world), and Iyami Osoronga, the first female to whom the Supreme being gave a special power (ase) in the form of a bird enclosed in a calabash copies of which she presented to her disciples, "the powerful mothers." In her popular aspect as Yemoja, she is the generous and dangerous mother." As mentioned earlier, Gelede is a means of paying homage to African womanhood which is viewed both physically and spiritually. To disrespect a woman is to disrespect the powers of Iyanla (in all her manifestations) inherent in that woman. In this chapter, Dr. Lawal also discusses such topics as the use of art to dissolve tension, membership into the Gelede Society, organizational strategies, the shrine (Ase), the performance arena (Oju Agbo), Gelede as a ritual pacifier (etutu) and the economics of Gelede.
"Iran: The Gelede Spectacle" is the title of chapter five. In this chapter Lawal begins an actual step by step account of how Gelede is actually celebrated. Lawal introduces this chapter with the following verse:
What do we call food for the eyes?
What pleases the eyes as prepared yam flour satisfies the stomach? The eyes have no food other than a spectacle
.......................... There are two types. Magical performance is one type of spectacle;
Beauty is another.
Never will the eyes fail to greet the beautiful one.;
Never will the eyes fail to look upon one-as-elegant-as-kob-antelope. .......................... "Egungun masks are performing in the market; let us go and watch them."
It is because we want to feed the eyes.
Dr. Lawal begins the chapter by explaining the nocturnal ceremony which is the time when the Efe mask (The Humorist), first introduced by the Tetede mask, fulfills it's multifaceted roles which includes conveying Iwure (blessings), ijuba (homage), orin idanileko (moral instruction), awada (jokes) and other elements of goodness in the name of Iyanla. Dr. Lawal also explains the Ijo Osan (diurnal (afternoon) dance) which introduces the Gelede masqueraders.
In Chapter Six, "Idira: Costumes, Aesthetics and Iconography," Dr. Lawal explains the various costumes (Human, Animal, and Bird) worn by the Gelede masqueraders and also the motifs that go along with them. Motifs include, but are not limited to, gele (head wraps), oja (baby sashes), metal anklets, colored panels, horsetail whisks and fans. Dr. Lawal gives us an in-depth understanding of the significance of these motifs also. Inwriting about the colored panels, Lawal writes; "The colored applique panels are both decorative and symbolic. Although their swirling enhances the beauty of the mask during the dance, the motion is expected to neutralize negative forces and purify the air, just as it does on the egungun costume from which they have been adapted." This chapter also includes rare photographs of actual Gelede masqueraders donning their costumes in route to perform for the celebration.
In Chapter Seven, "Igi Gelede: Sculpted Messages on Headdresses," Dr. Lawal explains the meaning and purpose of the various types of Gelede masks which include, but are not limited to, Iya (Great Mother Mask), Igi Efe (Efe Mask), Oloju Meji (Double Face Mask), Eleru (Head with Superstructure), Ori Eye (Bird Head), Ori Eniyan (Human Head) and Ori Eranko (Animal Head). Dr. Lawal also does in depth analysis on the various scenes depicted atop the Gelede mask which vary infinitely. One can almost be assured that every facet of Yoruba life will be depicted in one shape or form. One can see depictions of babalawos divining, people riding bikes, airplanes flying, Islamic and Christian priests, men and women engaged in sexual intercourse, drummers drumming, people working at their trades etc. There are also depictions which require some understanding of Yoruba folklore. In describing a particular Gelede mask, Lawal writes; "Gelede headdress featuring two snakes attempting to swallow a porcupine (oore) along with the quills. According to a divination verse, Esu and Orunmila forced the powerful mothers to agree to a pact limiting their power. One of the injunctions is that "nobody eats a porcupine along with the quills." The motifs on this headdress therefore seem to warn all evildoers of nemesis." In this chapter Lawal also gives the reader an understanding of the Yoruba facial mark (ila) tradition which are separated into two categories- ila idile (lineage marks) and ila ara (decorative tattoos).
Dr. Lawal begins chapter eight, "Oju Inu: Critical Perspectives on Gelede," explaining that with almost every aspect of Yoruba culture what you see is just a minute part of what you actually get. This is to say that the need to hone ones oju inu (inner eye) is essential if one wants an in depth understanding of Yoruba traditions which in all facets are both esoteric and exoteric. "The quality of ones oju inu," Lawal writes, "depends on knowledge (imo), intellect (oye), experience (iriri), wisdom (ogbon), and power of reasoning (laakaye)." In this chapter, Dr. Lawal revisits the subject of Gelede and it's relationship with small children especially ibeji (twins). Gelede is seen as a means of transforming abiku (born to die) to abiye (born to live). Lawal also explains how Gelede has adapted to the constant changes in the world. The Yoruba say; "Aye o duro s'ojukan; aye nyi lo" ("The world does not stand still; the world rolls on."). Gelede has adapted to it's changing environment not by substituting foreign elements into it's tradition, but by adding or incorporating foreign elements into the celebration. It only makes sense that Iyanla would welcome more of her children into the celebration without allowing them to take her over. A Yoruba proverb says; "Ko si oun ti oromodie le fi iya e se, afibi ki ba se pe iya e lo yee leyin." ("There is nothing a chick can do to it's mother, unless it was not the mother who laid it as an egg."). In speaking about change, Dr. Lawal also reminds us of the omnipresence of Esu, the divine messenger who is the agent of change.
Dr. Lawal concludes The Gelede Spectacle in chapter nine by reminding us of the purpose of Gelede as a means of placating the aje using dissuasion rather than force. The Yoruba say;
Oun a ba f'eso mu ki I ni l'ara,br> Oun a ba f'agabara mu ni I le koko
Anything handled with care becomes easier.
Anything handled with force becomes harder.
The Yoruba say; "The world is fragile." (Eso l'aye) therefore Gelede serves as means of warring with the evil of the world without killing or maiming. It is essentially a means of passive resistance whereby love, music, laughter, dance, and other forms of merriment become the weapons of choice. It is an appeal to the conscience of evildoers and potential evildoers to cultivate iwa rere and a reminder of the role that we have come to this earth to play as eniyan or humans specially selected for the task of Ifogbontaayese (to use wisdom to remake/improve the world).
Ase, Ase, Ase O!
Adupe pupo
Baba Efundele Olasegun is a student of Traditional African Spirituality, who has practiced IFA and is currently a practitioner of Haitian Vodou. He is a community activist, husband, and father of twin boys.
CLICK BELOW TO BUY THE BOOK
CLICK BELOW TO RETURN TO NEW AFRIKAN SPIRITUALITY
