BOOKS Ere Ibeji: African Twin Statues The Dos and Bertie Winkel Collection Ojú kì í r’à rewà k’o ó má ki i The eyes will never fail to greet the beautiful.1 Ibeji, or twin figures, of the Yoruba people from Nigeria and Benin are often among the first sculptures that collectors of African art discover. In the great pantheon of traditional art from this continent, their presence is prominent. Made by Yoruba artists, who are members of the largest cultural group of Africa, they serve as temporary seats for the spirits of children who were born as twins but died in childhood. As ritual objects, these figures are handled with great love and care, first by their mother and after, if she passes away, by their surviving sisters and brothers. That ibeji are taken care of as if they are living children who have to be fed and cleaned, and that they are adorned with precious amulets and body ornaments such as necklaces, bracelets, and anklets, 136 demonstrates how important these sculptures are as spiritual abodes for the Yoruba people. Ibeji figures are created over a vast territory. They have been carved over the course of centuries by succeeding generations of artists who are part of one of the most prolific artistic traditions of West Africa. This has resulted in a rich variety of regional styles. Some figures demonstrate the talent of particular leading artists, while others were made under the influence of acknowledged masters. This results in a number of recognizable substyles and iconographic details that characterize these figurines that are carved as both male and female. More than the artworks that serve to emphasize the power of kings and local leaders, or the sculptures that are used in different Yoruba cults such as Shango and the divination ritual known as ifa, ibeji figures bring us into the intimacy of families. They illustrate the importance for Yoruba men and women of having offspring and they allow them a way to ensure their continuity through reincarnation. As aficionados of African art, Bertie and Dos Winkel encountered their first ibeji figures during one of their many Bruno Claessens (text), Jean-Pierre Depienne (photos) By Frank Herreman FIG. 1: Ramanu Iyanda holding a pair of figures representing his father’s young sisters. Image from p. 147. Reproduced with the kind permission of Deborah Stokes. sojourns in Africa. They became impassioned collectors of these sculptures and assembled an ensemble of great quality and typological variety. Later they began to ask questions— questions about the true identity of these remarkable figures, questions about the artists who made them and about the people for whom they were intended. These led them to the process of having their collection documented and subsequently published as this book. For an author, they called upon art historian and independent curator Bruno Claessens. He formulated a number of answers by delving deep into research on Yoruba culture. The text he produced allows us to better contextualize the ibeji of the Winkel Collection. In addition, and through the many fine photographs by Jean-Pierre Depienne, other owners of ibeji figures will also find answers to many of the questions they may have. This book will aid them in their efforts to make attributions to particular artists, workshops, or regional provenances. Furthermore, it provides well-founded interpretations about the use and function of ibeji, as well as interesting information about the sculptural representation of various elements such as scarification motifs, different regional hairstyles, and carved adornments. In addition, it informs on the importance of the different adornments that have been added to many ibeji figurines. More than anything else, this book reveals the importance of ibeji figures as the temporary abodes of deceased children who were born as twins. These figures serve as a nexus for their souls in anticipation of being reincarnated. As such, ibeji figures are far more than simple works of art. For the Yoruba, they must be cared for and nurtured just as their other children that are still alive so that one day their souls will be reincarnated in newborns. NOTE 1. From Michael Fabunmi, Ayayo Ijinle Ohun Enu Ifè, Ibadan, 1972.
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