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Item number Af445 from the MOA: University of British Columbia.
Item number Af445 from the MOA: University of British Columbia.
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Standing wood figure (ibeji) on a round base. Female with distorted proportions. Arms at sides with hands touching thighs. Large head with stylized head arrangement. Brow and hair are stained black. Protruding eyes with holes for pupils. Eight eye-like incisions on each cheek and three on the forehead. Protruding breasts with large nipples. Protruding navel and carved pubic hair.
Based on the sacred duality of "twoness" (èjìwàpò) found in nature, such as life/death, right/left, male/female, twins are understood as bringers of wealth and blessings to their family if they are satisfied, or misfortune if they are dissatisfied. As a result, living twins are treated with a high degree of respect and favouritism. When a twin, or both, dies the parents consult a diviner (babalawo), who communicates the desires of the deceased; small commemorative wooden figures (ère ìbejì) are carved to honour and represent them. Yorubas believe that twins share a soul, so the family was to treat the figure as they would if the twin was still physically present. As a result, the twin was fed, washed and cared for. Rather than realistic representations, ère ìbejì are idealized forms. They are often decorated with cowrie shells, beaded or metal bracelets, necklaces, and anklets, and cosmetics, such as osun (camwood powder), indigo, and efun (white chalk). By the mid-19th century, Christianity and Islam began to influence the design of ère ìbejì. Yoruba Muslims sometimes commissioned ere ibeji with carved torah, or leather packets containing quotations from the Quran, while Yoruba Christians incorporated Virgin Mary medals or crucifixes. In the mid-20th century, manufactured or plastic dolls began to replace the traditional ère ìbejì. Today, these dolls, in addition to the use of photographs, continue to sustain the ère ìbejì tradition.
The facial scarification on both cheeks (ila, or “lineage face mark”) indicates a specific community to which the represented deceased twin belongs.
This data has been provided to the RRN by the MOA: University of British Columbia. We've used it to provide the information on the Data tab.
Standing wood figure (ibeji) on a round base. Female with distorted proportions. Arms at sides with hands touching thighs. Large head with stylized head arrangement. Brow and hair are stained black. Protruding eyes with holes for pupils. Eight eye-like incisions on each cheek and three on the forehead. Protruding breasts with large nipples. Protruding navel and carved pubic hair.
Based on the sacred duality of "twoness" (èjìwàpò) found in nature, such as life/death, right/left, male/female, twins are understood as bringers of wealth and blessings to their family if they are satisfied, or misfortune if they are dissatisfied. As a result, living twins are treated with a high degree of respect and favouritism. When a twin, or both, dies the parents consult a diviner (babalawo), who communicates the desires of the deceased; small commemorative wooden figures (ère ìbejì) are carved to honour and represent them. Yorubas believe that twins share a soul, so the family was to treat the figure as they would if the twin was still physically present. As a result, the twin was fed, washed and cared for. Rather than realistic representations, ère ìbejì are idealized forms. They are often decorated with cowrie shells, beaded or metal bracelets, necklaces, and anklets, and cosmetics, such as osun (camwood powder), indigo, and efun (white chalk). By the mid-19th century, Christianity and Islam began to influence the design of ère ìbejì. Yoruba Muslims sometimes commissioned ere ibeji with carved torah, or leather packets containing quotations from the Quran, while Yoruba Christians incorporated Virgin Mary medals or crucifixes. In the mid-20th century, manufactured or plastic dolls began to replace the traditional ère ìbejì. Today, these dolls, in addition to the use of photographs, continue to sustain the ère ìbejì tradition.
The facial scarification on both cheeks (ila, or “lineage face mark”) indicates a specific community to which the represented deceased twin belongs.
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