Mask Makers in Nigeria Inspired by Yoruba Traditionsby Deborah BellPublished in TD&T, Vol. 44 No. 1 (Winter 2008)Theatre Design & Technology, the journal for design and production professionals in the performing arts and entertainment industry, is published four times a year by United States Institute for Theatre Technology. For information about joining USITT or to purchase back issues of TD&T, please contact the USITT ofce:USITT315 South Crouse Ave., Suite 200Syracuse, NY 13210tel: 800-93-USITT (800-938-7488)tel: 315-463-6463fax: 315-463-6525e-mail: info@ofce.usitt.orgweb: www.usitt.org CORRECTIONS: spelling of Agbede Adebisi corrected in captions on p. 45, 30 June 2008.Copyright 2008 United States Institute for Theatre Technology, Inc.T H E A T R E D E S I G N &T E C H N O L O GY41WI N T E R 2 0 0 8 Copyright 2008 United States Institute for Theatre Technology, Inc.or several years I have explored the creative pro-cesses of mask makers representing diverse cul-turesandvaluesystems.Ihavealsofocusedon the cultural signicance of their masks when used in theatrical anddanceperformances;tribalrites-of-passageandfestivals (presented as performances); and carnival pageants. EventuallymyquestledtoAfricawhereformillennia maskmakershavecontributedtothepowerofmaskedper-formance.Africanmaskmakershavealsoinuencedmodern artistic achievements. In his book, Great Masks, Bihalji-Merin MaskMakersin NigeriaInspiredbyYorubaTraditionsby DeborahBellMid-twentieth-century Nigerian Epa mask.42T H E A T R E D E S I G N &T E C H N O L O GYWI N T E R 2 0 0 8 Copyright 2008 United States Institute for Theatre Technology, Inc.quotes Picasso: Men had made those masks and other objects for a sacred purpose, a magic purpose, as a kind of mediation betweenthemselvesandtheunknownhostileforcesthatsur-rounded them, in order to overcome their fear and horror by giving them form and an image. At that moment I realized that this was what painting was all about. Painting is not an aesthetic operation: it is a form of magic designed as a mediator between this strange, hostile world and us, a way of seizing the power by giving form to our terrors as well as our desires. When I came to that realization, I knew I had found my way (Bihalji-Merin 1970, 179).LaterBihalji-Merinreferstothecentralregionsimpor-tantintheworldofmasks;thoseoftheWestAfricancultural groupings,fromGhanatoAngola andtoAfricanmaskeddancers whotakepartinfuneral,fertility andinitiationfestivities,represent-ing punitive and regulating powers. TraditionalAfricanconceptualiza-tions used in creating masks for Af-ricanperformancehaveinuenced numerousothertwentieth-century WesternartistssuchasModigliani, PaulKlee,EduardoPaolozzi,and HenryMoore(Bihalji-Merin1970, 44-5).Playscurrentlyproduced intheUnitedStatessuchasAugust Wilsons Gem of the Ocean and Ju-lieTaymorsLionKingincorporate signicant aspects of African masked performance. ButjustasWesternculture hasbeeninuencedbyAfricanart, Africancommunitieshavebeenin-uencedbytheWestintermsof educationandWestern(aswellas Islamic) myths. Today, Nigerian citizens encounter Western aes-thetic and value systems more often than they did one hundred yearsago.Howdoesthissituationinuencetheirtraditional maskedperformancefestivals?Ultimately,whatchallengesdo maskmakersconfrontinthemidstofsuchdramaticcultural change and what insights into traditional Africanmaskmak-ing can contemporary Nigerian mask makers teach us?Ifirstdecidedtovisitandinterviewmaskmakersin NigeriaafterseeingOjetunjiOjeyemismagnificentEgun-gunmasqueradeatthe2005InternationalMaskConfer-enceattheUniversityofSouthernIllinois,Carbondale. Myreviewofthatevent,publishedinthespring2006is-sueofTD&T,describedhimasaNigerianperformerwho heldtheaudiencespellboundwiththerhythmicdrum-ming, music, and masked dance of a typical Yoruba ances-tral(Egungun)masquerade.Ojetunji(orTunjiashecalls himself)paradedontotheuniversitysstagetoprophesy, pontificate,admonish,andinspirethesurroundingvillage people.Someweremembersoftheaudiencewhocame onstagetoparticipate(Bell2006,42-3).Apartfromhis extensive experience as a masked performer, Tunji also de-signsandmakesmasks,thoughhefocusesprimarilyon performance.HeisaprofessoratObafemiAwolowoUni-versity,whereheteachesperformancetechniques,dance, andchoreography.Heisalsoartisticdirectorofaprofes-sional dance troupe, located in the city of Ile-Ife, the cradle of Yoruba culture. MasqueradeinNigeriaWesternerstendtothinkofmasqueradeasarathershallow event,usuallyinvolvingstatelymovingcelebritiesonparade oats;orblandlywavingcartooncharactersatDisneyWorld. Conversely,theEgungunmasquerade,liketheoneTunjipre-sentedinIllinois,involvesseriousspiritualemphasisonthe realmofthedead.UnlikeWesternpresentationalformsof stagedexpression,someAfricanrituals(whilenotaspre-dominant as originally assumed) require the mask to take on the spirit/character that it evokes during the performance rite (Pernet 1992, 117-35). At this point, the mask becomes alive not symbolically, but literally. The Egungun masks conjure an-cestral spirits and Egungun performers talk about the spirit of thedeadliterallyinhabitingtheirbodieswhenmasked.While Egunguns are rarely sinister, they carry such profound secrets thataudiencemembersmaintainrespectfuldistances.Tradi-tionally,womenareforbiddentoeithercreateortouchsuch forms, either in the act of making the mask or in performance, althoughsomewomen,iftheybelongtotheappropriatecult, can attend ceremonial performances. TunjiandseveralotherNigeriansIinterviewedinsisted that this concept does not denigrate women. After all, Yoruba womenhavetheirownmaskedspectacleintheformofthe Gldmasquerades,whichacknowledgetheirownimpres-sivepowers.(Albeitthemasqueradesareperformedbymale masqueraders.)TheYorubacommunitiesconsiderwomen essentiallyseparatebutequalintermsoftheirowncapabili-ties (Ojeyemi/ Ogunneyemi, 2006). Pernet in his book Ritual MasksdescribestheGldFestivalashonoring[Yoruba] mothers.Itpubliclyrecognizesthepowerofwomen(old women,ancestresses,ordeiedwomen),notonlytheircre-ative power but also their secret and destructive power which expresses itself in witchcraft. The participants aim then at con-ciliationbetween[Yoruba]mothersandthewitches(j)so that they will use their powers for good rather than the destruc-tion of the community (Pernet 1992 Dead, 64). Beckwith and Fisher describe this ritual more specically as one where the objective is to identify and eliminate the negative aspects of fe-male power and replace them with the more benevolent themes of fecundity, maternity, and well-being (Beckwith 1999, 119).Furthermore,theannualOsunFestivalinOsogbocel-ebratesthefeminine,fertile,andcreativepowersofOsun,an important Yoruba rs. The term, rs, helps to explain the essentialpurposeandfunctionsofYorubamasks.Occasion-Just as Western culture has been influenced by African art, African communities have been influenced by the West in terms of education and Western myths. T H E A T R E D E S I G N &T E C H N O L O GY43WI N T E R 2 0 0 8 Copyright 2008 United States Institute for Theatre Technology, Inc.allyconsideredagod,anrsmorespecicallyreferstoa spiritual aid who serves to promote better understanding of the omniscient god, Olodumare. This is similar to the way spiritual aids such as the Virgin Mary or Jesus Christ help to reveal the Christian god (Ajani, 26 July 2006).My excellent and resourceful Nigerian guide, Adigun Ajani (an authority on Yoruba myth, former museum curator, and es-teemed artist in the Osogbo community), underscored this idea of an abiding Yoruba respect for female capacities with a leg-endary story. He explained that Orunmila (rs of divination) oncereportedtoOlodumare(God)thatseveralofthemajor male rss, such as Sango (rs of thunder), Esu (trickster rs of checks and balances), Obaluaye (rs responsible of disease), Oro (rs of secrets) and especially Ogun (rs of iron and war), could not create wealth. Olodumare asked why they did not bring along Osun (the female rs of fertility and creation). Olodumare, in his wisdom knew that unless she was involvedasaprimaryfemaleforce,theycouldneverbesuc-cessful (Ajani, 4 August 2006). Ojetunji(Tunji)Ojeyemi MaskMaker/Performer TunjiparticipatedextensivelyinEgungunmasqueradesasa young audience member and later as a mask maker and Egun-gunperformer.ThesonofaNigerianchiefandbornintothe lineageoftheOje(traditionalYorubacultofmasquerades), Tunji was initiated into the guild of mask dancers and acrobatic performers at the age of six. He has since been a pivotal pres-ence in annual Nigerian Egungun festivals. YetothermaskmakersIhadinterviewedinOsogboex-pressedanxietyregardinghowtheymightcontinuetocreate suchelaboratelydetailedandspecicallyrelevantmasksfor masqueraders like Tunji when Yoruba values and style are in-creasinglydilutedinthemidstofencroachingChristianand Musliminuences.WestAfricanmasksrequirespecialized skill even as they demand signicant understanding of ancient spiritual beliefs that have unied the Yoruba community during centuries of economic, social, and political challenges. Ironically,culturalleadersthroughoutsouthwesternNige-rian communities strive to maintain the sanctity of their spiri-tual rituals and masked performances associated with Yoruba traditionsbyalsoallowingtourismtohelpsupporttheircon-tinuation. This struggle continues anywhere in the world where ethnic traditions increasingly confront the invading, diluting ef-fects of the vast global information highway. Consequently, tra-ditionalYorubamaskedperformancetraditionseemsatrisk, unlesstheYorubaspiritualfoundationsaremaintainedand perpetuated.Currentlythesefoundationsconfrontacritical shift in the history of Yoruba culture.TunjipoignantlydescribedhiscontemporaryNigerian yearning to maintain Yoruba myth and ritual as he introduced me to the world of Egungun masks and insisted that we cannot takemasksforgranted;theyfunctiononlywhenpeoplehold great spiritual beliefs, allowing the masks to harness signicant power (Ojeyemi, Ojetunji 2006.) An Egungun in a traditional performancecanprojecthumorousadmonishmentswhile also teaching important wisdom from the ancestors, Tunji ex-plained. Yet some masqueraders today are very old and fearful. We call this kind of masquerader Alagbo who can also perform miraculoushealingasababalwo(anherbalist/divinerwith powerssimilartothosepossessedbyshamansormedicine men). These performers are so powerful they sometimes have bees around them! Traditional Egungun masqueraders such as thesecanusechantingandmedicinetotesteachotherina competitive way.HedescribedatypicalEgungunceremonywhichoccurs betweenthethirdandseventhdaysbeforetheactualburial. Severaldaysafterdeath,theEgungunasthespiritofthede-ceased will come to visit. (The Egungun masquerade does not allow any visible skin of the masquerader. Gloves and leggings An Egungun from Adigun Ajanis childhood home in Ogbomoso in Oyo State. Note the gure of another mask on top of the Egungun mask that covers the Egungun performers face. Frequently one can see additional totems such as animals, birds, or humans on top of African masks from numerous regions. These gures often refer to the anthropomorphic power of animals (and also as ancestors to humans) though John Mason suggests that Catholic statues may also have been transformed into masks/costumes for the rs. (Mason 1994, 241)44T H E A T R E D E S I G N &T E C H N O L O GYWI N T E R 2 0 0 8 Copyright 2008 United States Institute for Theatre Technology, Inc.complete a hugely proportioned masked gure.) During this grievingperiod,thedeceasedschildrenwillprayandaskthe Egungunforblessings.TraditionallyEgungunsspeakincoher-ently but the elders understand what they say. After visiting, the Egungun will disappear, leaving the deceaseds family members and friends crying. Myfatherwouldtakemetotheseritualsandwewould hear the voice of the deceased coming from a calabash after it washitthreetimes.Peoplewouldrunandscatter.Thecloth used for burying the deceased would y and disappear on the third day. I saw this happen three times in my childhood, re-calledTunji.Ontheseventhday,theelderswouldprepare sacrices and feasts early in the morning and then would meet theEgungun,whocamedressed infabricwornbythedeceasedas wellasotherfabricpieceswornby closerelativesorfabricsspecially importedbecauseoftheirbeauty. Afterwardstheelderswouldtellthe small children to go away. The elders proceededtoholdacockbehind theEgungun,closetheireyeswhen presenting the gift, and the Egungun would take it and disappear. Nigerianwomenunderstand that when they hear the sound of an approachingEgungun,theyshould lookdownwardatleastuntilthe Egungun changes into a female char-acter, he said. Once in 1993 when IwasperformingtheEgunguncer-emony with women in the audience, I felt very strange both physically and emotionally. Suddenly I remembered thatbeforehediedmyfatherhad warned me that one of the charms I wouldinheritfortheEgunguncostumewasespeciallypotent and I should not use it in the presence of women. While I was performing in this Egungun disguise, I was linked to the ances-tral god and I realized that I had neglected to remove the charm whichwasplacedinsidethecostume.Somethingveryserious happenedtome,especiallyafterIbecameafemaleversion oftheancestralgod.Inthepresenceofthedancingwomen aroundmeIcouldnotfocusandbecamephysicallydrained. I walked away briey from the performance site to remove the charmand then I felt okay, but I am convinced I could have been seriously harmed if I had continued to wear it in front of the women.Tunjiscloserelationshipwithhisfatherexpressesmuch of the underlying rationale for the Yoruba propensity to main-tain and champion the art and rituals associated with Egungun masquerade. Ancestor worship runs deep in the undercurrents ofthereligionandsocialstructure.Earlyonasachild,my father foretold that I would make my career as a dancer and as a teacher. He often stated it to my family and directly to me. He washighlydisciplinedandduringmytrainingasadancerhe would have me do the same technique repeatedly to perfect it to the point that I would cry. My father was a great dancer and I inherited his skills and improved on them. He is dead since 1999, Tunji said. But when I want to talk with him I put on hiscapwhenIsleepandby2amImconnectedtohim.IfI performinhisEgungunmaskandcostumeandmakesome rituals, I talk to him and I hear his voice. My last performance with him was broadcast by the Lon-don BBC at the Egungun Festival in Gbongan. I involved my fa-ther in this event, and we went in front of the old palace. As we arrived, the weather changed into rain. My father stepped out and conjured the sun to return. During this particular part of the event, my masquerade had evolved into a tiger, and I went to the top of the palace roof which was two stories high. I knew I needed to complete the performance by ying down from the building but I had lost courage. My father got up and raised his hand with the drummers. My ears were blocked and I couldnt hear the drums; I heard only my fathers voice chanting that I would be light like cotton wool. I found myself suddenly safely ontheground,andpeoplewereshoutinginamazement.On that day, my wife exclaimed that she had married a spirit. But it was my fathers spirit that sustained me.You dont joke with this profession. Some of our mas-querades are fake, but when you encounter the power of your ancestors you seriously need to be prepared. He concluded withthefollowingafrmation:Iamaneducatedprofes-sionalinthemodernworldandIamapoliticalactivistlike myfather.Ileadacontemporaryhumanrightsorganization called Campaign for Democracy and Human Rights. Yet, I still respectandbelieveinourtraditions.Istillsacrificetomy father.Iknowmyfatherstilllovesmeandisalwaysbe-hind me. Every year I kill the goat and commune with him. IfIamconfusedorifsomeoneissick,Icoverthatper-sonwiththeEgungunmaskandthepersonwillbehealed quickly.Noonecanstealmymostvaluedpossessionsin my bedroom because I keep the Egungun mask high in my wardrobecloset.Nothiefdarestoenter(Ojeyemi,Oje-tunji 2006).MichaelHarrisunderscoresTunjisvividdescriptionof thefundamentalintersectionsofcontemporaryYorubacul-tureanditsmoralimperativeswithartisticeffortinhis 1991interviewwithanotherprofessor,MoyosoreOkediji, also at Obafemi Awolowo University. In this interview, Okedi-jistatesthatIamtryingtodoexactlywhatthetraditional carver is trying to do . [T]he secularization of society has shiftedtheroleoftheartistinonesense,likeningittothe work of a psychiatrist and in another sense the artist has someoftheobligationsofapriest,becauseifyouconsider any religion, the vehicle has always been art, whether poetry, or very good prose, or music, or visual art. Harris adds, In Yorubaculture,thiswouldalsoincludethedramaofritual performance (Harris 1994, 202-3).You dont joke with this profession. Some of our masquerades are fake, but when you encounter the power of your ancestors you seriously need to be prepared. T H E A T R E D E S I G N &T E C H N O L O GY45WI N T E R 2 0 0 8 Copyright 2008 United States Institute for Theatre Technology, Inc.AgbedeAdebisi BrassEgungunMasksAnothermaskmaker,AgbedeAdebisi,specializesinthecre-ationofmasksratherthaninmaskedperformance.Agbedes brass Egungun masks are renowned throughout the region. His grandfathers masks have found their way into major European collections. Likemanymaskmakersworldwide,Agbedelearnedhis craftfromhisfather,beginningattheageoftwelve.Hecre-ateshisbrasssculpturesutilizingthetraditionallostwax process with nineteenth century bellows and kilns. Special red clayfromBenincalledamopupetakesthreedaystoharden as a negative image covering the positive beeswax image of the mask underneath. After the clay dries, it is placed over a very hotresustainedwithcharcoal.Thewaxmeltsandhepours themeltedbrassinsidetheclaymold.Whenitcools,Agbede breaks the clay to retrieve the brass form. It can take as long as threeweekstocreateanEgungunmaskusingbrassfeatures. Hisfamilyusuallyhelpstobuildtheaccompanyingcostume created out of strips of cloth worn by the deceased and his an-cestors or other deceased family members. Agbedesmasksareinhighdemand.Occasionally,he laments, they are stolen to sell to Europeans or other foreign-ers, though the need to make replacements keeps him active and nancially solvent. (I was surprised to learn that Egungun masksactuallycouldbestolen,inspiteofTunjisbeliefthat Egungunmasksservedasprotectionforallothervaluables nearby.)HisownfamilyEgungunmaskincorporatesstripsofhis late fathers wearing apparel as well as metallic cloth previously worn by his late mother. In accordance with tradition, his Egun-gun mask is reverently stored in the attic of his home or resides inthehighestplacewithinthehighestroominhishome.His greatest challenge comes when attempting to acquire appropri-atematerials.Thebrassisveryexpensiveandsometimeshe mustcompromisebymixingleadwithit.Onlytheclayfrom Benin works best to create the molds (Adebisi 2006).KolawaleAdeola MasksforEpaMasqueradeThegregariousandquick-wittedKolawoleAdeola,whocalls himself Kola, specializes in Epa masks for the Yam festivals, Owi masks that appear at night during funerals, and Gld masks honoringwomeninGldcelebrations,aswellasEgungun masks.HebelongstothegbniSecretSociety,whichpays specialhomagetoObegi,thespiritsrepresentingtwins,who arebelievedtohavethepowertocreategoodfortuneand health.Oftenthemasksforthissecretsocietyaremetaland not necessarily worn on the head. They can serve as a heraldic device,carriedorworninfrontofthetorso.Participantscan bang on them (like a gong). Masks used by this secret society feature arms folded across the chest with sts aligned. The Obegi twin gures frequently adorn the Epa masks for useduringmasqueradesattheYamfestivals.TheEpamasks helptopromotethemale/femalersspiritforagriculture, ensuringagoodharvestandcommercialsuccess.Themasks often combine male/female components, such as a high mask of a woman with a male face, and they are frequently worn over Agbede Adebisi in his studio.Agbede Adebisi wearing his familys Egungun mask and costume.46T H E A T R E D E S I G N &T E C H N O L O GYWI N T E R 2 0 0 8 Copyright 2008 United States Institute for Theatre Technology, Inc.the head, or on top of the head over a cloth roll. When I cre-ate an Epa mask, I usually follow the instructions of my clients whilestrivingtoachieveasenseofYorubastyle,Kolasays. Mymaskshavebothspiritualandcommercialdimensions, andmynon-commissionedmaskssellveryquickly.Itisdif-cult to maintain a supply of new masks for sale. Kola believes that his great-grandfather inspired him in his training, even though his father actually taught him how to carve. Early on, I had no job, and poverty encouraged me to seriously train for this profession. But my great-grandfathers masks were beautifulandfamous.Oftenpeoplewouldaskmetoreplace them after termites had destroyed them. So I learned at an early age how to appreciate the act of copying ne work to the best of my ability, and this training provided a solid foundation for ex-cellence as I developed my own abilities to create more original work that comes from my heart. Now I rarely work for money. I can afford to work for God because my successful masks create sufcient income to care for my family. But if I need inspiration, I dont go to books or pictures. I have all the inspiration I need when I remember the masks of my father, my grandfather, and great-grandfather. Then I go directly to the wood to be carved, and I see my head [mask] in the bush [forest].Kola Adeolas gbni Secret Society iron mask worn by chains at the torso. The mask makes noise when pounded upon like a drum.The new chief wears this style of mask during the coronation ceremony when he takes on his new responsibilities in the community. The ceremony celebrates the wisdom of the departing chief while also celebrating the potential of the new chief. This unnished mask would eventually have indigo blue hair highlights and scarring, white teeth and cheek scarring, and deep red lips and skin (created by scraping powder from red rock in Benin, mixing it with glue, and applying the mixture).T H E A T R E D E S I G N &T E C H N O L O GY47WI N T E R 2 0 0 8 Copyright 2008 United States Institute for Theatre Technology, Inc.Koladescribedimportantconsiderationsforhismasks, suchasthenecessitytouseappropriatelyagedwood:hard enoughbutnotdead.Thewoodmustcureforthreemonths orthemaskmayeventuallycrack.Healwaysguaranteeshis workbyusingappropriatewood.Kolaalsopreferssymmetry in his masks and spends time standing above them and looking atthemupsidedowntohelpachievethatsymmetry.Nigerian maskscanoccasionallyhaveadoubleseriesoffourbeads ontheforeheadarea(althoughthenumberofbeadsandthe pattern of them vary signicantly as an in-depth exploration of these masks reveals). He explained that his beads signify power atthehead(mask),withthefourthrowsignifyingafourth dimensionwhichaimsforbalanceinthemidstofpower.I foundmyselfwonderingwhytheworldsmilitaryuniformsor governmentandcorporatebusinessregaliahavenotyetad-opted versions of this symbol.Kola thinks that he does his best work in the early morn-inghours.Ineedtogetupearlyanddrivefarawayintothe bush,awayfromnoisycarsandawayfrommychildrende-manding biscuits! he laughs. For me, 8 to 10 a.m. is the ideal timetocarvethehead.MybrainiscoldandfreshandIcan fully concentrate. I also prefer to do important nishing work at this time. The challenges he faces as a mask maker seem daunting. Toooftenweareforgotteninthebush,hesays.Toooften our ancestors are forgotten. There is very little patronage now-adays. I make a decent living but many do not. Nigeria does not generally promote the carver as an artist and is not inclined to promote African heritage to the extent that it needs promoting. Prominent mask makers from the past are in museums, but the worldseemstoshowlittleinterestinthecurrentgeneration, whichseemslesslikelytostandonaccomplishmentsofour ancestors. Our children dont see the value of carving without properpromotion.Alsowemaskmakersgenerallylackap-propriatedocumentation.Wegenerallylackgoodcamerasto protect and record what we are doing (Adeola 2006). Behalji-Merin reminds us that earlier cultures worldwide supportedthemaskmakerwithdignityandprivileges. [T]hecreatorofthemasksbelongedtoanelite[group]and did not have to go to war or to the hunt. Thus gods protected those who gave them form. The mask maker worked in secret, in the tranquility of the forest. He was given much time in order tocreateindeepconcentrationguresofancestors,fetishes, andmasks.Hisworkservedthegoodof thecommunity(Behalji-Merin1970, 47). Today most people view the contem-porarytraditionalmaskmakerswork withacurioussenseofambivalence,not only in Kolas West African region but also in most regions of the world. AgebikeOguneyemi IronMasksAgebikeOguneyemi,ablacksmithin thecommunity,hasspecializedinmetal masks, though not as frequently as he used to.Hehascreatedmetalmasksfromvery thick concentrations of iron as well as from light weights of iron. I have my health (a blacksmithneedsstrength),appropriate if I need inspiration, I dont go to books or pictures. I have all the inspiration I need when I remember the masks of my father, my grandfather, and great-grandfather. The name of this Epa mask is Ejio from the area known as Aree Afao Ekiti in the Ekiti Kingdom. The original was carved by Kolas grandfather about 90 years ago, when his father worked alongside prominent carvers like Obembe Ologunde from Ilesa, Agbonbiofe from Efon Alaye, and Oyemolatiran Olayanju from Owo in Ondo State. The original had been eaten up by ants. The king of Aree Afao Ekiti asked Kola to repair it. He has copied several masks like this one for important royal members of the Yoruba community. The multiple mask is xed on the head of the masquerader, who can see from the hole of the mouth of the front view. This front mask depicts the rs Orunmila while the back mask depicts the rs Obatala, who serves as the protection from the rear in case of any attack. The carved out portion of the masks has the head shape of the masquerader who must eventually carry it when dancing.48T H E A T R E D E S I G N &T E C H N O L O GYWI N T E R 2 0 0 8 Copyright 2008 United States Institute for Theatre Technology, Inc.tools,andanabundanceofiron,butmygreatestchallengeis acceptingtheneedtostopworkingwhenthesungoesdown. I lack electricity, you see, so everything must stop. I have been a blacksmith for over fty years. My forefathers were all black-smiths. Ive created many iron masks as a blacksmith. Yet none ofmychildrenseemsinterestedinpursuingacareerinmy profession.Theyseemtooimpatienttotoleratetheheatfrom the re and the physical endurance required for a ne nished product. Agebikeusesthenineteethcenturybellowstomaintain high heat for his res and always pounds the metal in the man-neroftalking-drumpraises(ork)forOgun(rsofiron and war) when he works. That way, Ogun will come down and support the job, he says. I take a lot of time to get it exactly right. But I never chant negatively or curse. When Im nished I call another person to see it. If the person can say exactly which rsthemasksignies,Iknowthatitissuccessful.Forme, that is the ultimate test. He considers himself an Ogun devo-tee,andheremindedmethatduringacrisis,Ogundevotees meditate on the machete symbol in order to discover the truth. If the mask is wrong, it needs to be destroyed and re-created, he concludes (Oguneyemi 2006).KasaliAkangbeOgun MaskCarvingsI met Kasali Akangbe Ogun (not an Ogun devotee though his latefatherwasacommittedOgunworshiper)athisstudio neartheOsungrove.OfallthemaskmakersIinterviewed inOsogbo,heprobablyhasthemostextensiveinternational reputation. He has exhibited his masks and other wood carv-ingsinLondonandtheEdinburghFestival;Hamburgand Bayreuth,Germany;theNationalBlackTheatreinHarlem; theUniversityofIowa;institutionsinAustriaandFrance; Adigun Ajanis sculpture of Ogun with horns as machetes, as described by Agebike.Agebikes metal masks have been used in commercial masquerade celebrations. He uses nineteeth- century blacksmith tools shown here at his studio. He pounds the metal to the beat of talking drum praises. T H E A T R E D E S I G N &T E C H N O L O GY49WI N T E R 2 0 0 8 Copyright 2008 United States Institute for Theatre Technology, Inc.andnumeroussitesinLagosandOsogbo.Healsorepre-sentedAfricaataninternationalsymposiuminGermany with other renowned wood carvers from New Zealand, Indo-nesia, Canada, and Italy (Akangbe Ogun 2006). Kasali acknowledged that he rst received strong encour-agementfromtheEuropeanSuzanneWenger,whocameto Osogbointheearly1950s.Shehasbeenaculturaladvocate forYorubaartandartistssinceherarrivalandhasattracted internationalinterestinthesacredOsungrovebyencourag-ingawiderangeoftalentedblacksmiths,stonecutters,and wood carvers in the Osogbo area to create numerous impres-siveshrinesdedicatedtotherss,particularlyOsun.These shrinesandsculpturesevokeexceptionalarchaicpowerand feeling. Kasali thinks that perhaps some of the international at-tention his mask work has received evolved from the attention brought from abroad in response to Wengers artistic revitaliza-The trunks cure for seven years. I then take away the bad bark and work with wood that may have lived for several centuries under the right conditions. An example of the roof that Kasali has created at various shrines in Nigeria. This one is at the Osun grove near the banks of the river where the annual Osun Festival takes place.Kasalis completed mask. The mask with colorful background is Osun (rs of fertility and prosperity).Kasali at work at his open air studio.tion of traditional arts at the Osun grove. No doubt Kasalis iron work thereparticularly his stunning roofs and pillars re-ceivedrecognition.Hecreatedsimilararchitecturalpiecesin other areas of NigeriaKasaliswoodcarvingemphasizesancestralsymbolsor guresofYorubarss.HeallowedmetospendaSunday morning at his studio, watching him begin a huge mask, start-ing with a very old tree trunk. The photo above, showing him at work, reveals the physical prowess necessary to achieve work on such a grand scale. DuringKasalisdemonstration,hepointedtothreecut trunksoftreesnearhisstudioandsaid,Iuseomowood (similartomahogany)andprefertohavethetrunkscurefor seven years. I then take away the bad bark and work with wood that may have lived for several centuries under the right condi-tions.Hecutthetrunkverticallyinhalf.Hebeganhiscarv-50T H E A T R E D E S I G N &T E C H N O L O GYWI N T E R 2 0 0 8 Copyright 2008 United States Institute for Theatre Technology, Inc.A successful mask must show strength, and the elements within The work needs integrity combined with beauty suitable for showing its odu or ideal spirit. Like so many Nigerian mask carvers, Abesu Rabiu prepares to work by rst paying homage to those who have done the work before him. I then produce the work in my imagination. When I see the wood before me, something tells me how to continue. The more I do the work, the more imagination and inspiration come. While he has not created masks recently, the faces on the drums in this photograph carved by Abesu reect his style.ing by paying homage to his ancestors and other divinities. The completedcarving(whichIdidnotseeinsuchabrieftime period)wouldeventuallytakeanoilpolishthatdarkensthe color and makes it termite-proof. I look forward to the future when my masks will inspire one of my children to do the kind of work I leave behind. I dislike selling my work and only do it to feed my children, he said.A successful mask must show strength, and the elements withinandaroundthemaskmusttellstories,hecontinued. Theworkneedsintegritycombinedwithbeautysuitablefor showingitsoduoridealspirit.Themaskmustbefrankand yet dynamic. Im not talking necessarily about scale, but it must have a strong, dynamic face. The carving must be led by Olodu-marejustasoneslifeisledbyOlodumare(AkangbeOgun 2006). (Robert Pirsig offers similar advice for achieving high quality artistic effort in Zen and the Art of Motorcycle Main-tenance: Youve got to live right too. Its the way you live that predisposes you to avoid the traps and see the right facts. You want to know how to paint a perfect painting? Its easy. Make yourselfperfectandthenjustpaintnaturally(Pirsig1974, 293).Gabriel Akanbi Dada in his studio (below) and two of his masks (right).T H E A T R E D E S I G N &T E C H N O L O GY51WI N T E R 2 0 0 8 Copyright 2008 United States Institute for Theatre Technology, Inc.YorubaInspiration MasksfromNatureandtherss My guide Adigun Ajani explained that the rss demand wor-ship since they aid mankind in understanding the ultimate di-vinity in all aspects of life on earth. To worship them is to worship the heads (ibori) in ritual. To worship the heads is the same as worshiping rss. The heads are often symbolized by masks that represent each rs, who then inhabits the head/mask and makes it come to life. rs wants his devotees to visit him but he cant be seen, so he prefers to put on the masks to relate bet-ter to each other, he said. Each rs touches the hem of the garment of eternity (Ajani 4 August 2006). The inspiration for Yoruba masks is evident in this mask-like sculpture by Adigun Ajani. It evokes the Obatala rs, responsible for intelligence and destiny.Adigunintroducedmetoareveredbabalwo(herbal-ist/shaman)namedSangodareGbadegesinAjalawhoadded that because of his extensive training during his childhood he can identify two hundred-fty-six faces that appear in nature in trees,rivers,mountains,etc.Hesuggestedthatthesenatural statesofbeing(aswellasrss)becometheinspirationfor the Yoruba masks (Ajala 2006).All masks are sacred, but perhaps the most sacred are the otonporo masks used to protect Osun in her grove by the river. Adigunexplainedthatthemasksareveryold,createdbythe ancestors, and annually washed with spiritual leaves and herbs inpreparationfortheOsunFestival.Youcantmakeagod Osun priestess, Oyabo Osun Yemi.A virgin Osun devotee slowly carries a covered calabash of sacred otonporo masks from the center of town down to the river bank for the 2006 Osun Festival.Mask carvers Olurotimi Taiwo and Olowolafe Ruffus, who have worked as partners for several years specializing in Epa masks, stated, Successful masks must have good de-sign and come from imagination with purpose.The bad ones cause sadness and must be thrown away.They are shown with work for an Epa Festival. 52T H E A T R E D E S I G N &T E C H N O L O GYWI N T E R 2 0 0 8 Copyright 2008 United States Institute for Theatre Technology, Inc.withoutsheddingblood [that is, one cannot experi-ence the concept of eternal divinity without the experi-ence of loss and death], so duringtheannualpuri-cationprocess,themasks arealsocleansedwiththe bloodofanimalsacric-es,Adigunadded.These masksaresosacred,only an intimate circle of priests everseesthem(Ajani4 August 2006). Adigunintroduced metoanOsunpriestess, Oyabo Osun Yemi, who an-nually helps to prepare the OsunshrinesfortheFesti-val. She acknowledged that only priests can cleanse the otonporomasks.Idont Celebrants at the Osun Festival rituals on the banks of the river.Gld, Epa, Osun, and other rs spirits to life. Only Olodu-mare knows how long future mask makers will continue in the Yorubatraditionwhenconfrontedbysomanycontemporary daily distractions from abroad as well as from within. Deborah Bell is professor of costume design at University of North Carolina at Greensboro. Last year she visited several mask makers at the Samba Schools in Rio de Janeiro as well as mask makers in Malawi and Nigeria with support from a 2006 USITT grant. Her previous TD&T article, The Mask Makers Magic, received the 2006 Herbert D. Greggs Award for excellence in writing.WorksCitedAdebisi, Agbede. 2006. Interview by author. 29 July.Adeola, Kolwale. 2006. Interview by author. 29 July.Ajala, Sangodare Gbadegesin. 2006. Interview by author. 28 July.Ajani, Adigun. 2006. Interview by author. 26 July. Ajani, Adigun. 2006. Interview by author. 4 August.Akangbe Ogun, Kasali. 2006. Interview by the author. 30 July.Beckwith, Carol and Angela Fisher. 1999. Yoruba Masquer-ade. African Ceremonies, Vol. II. New York: Harry N. Abrams, Inc.Bell, Deborah. 2006. Masks of Transformation. Theatre De-sign & Technology 42 no. 2.Bihalji-Merin. 1970. Great Masks. New York: Harry N. Abrams, Inc.Dada, Gabriel Akanbi. 2006. Interview by author. 3 August.Harris, Michael. 1994. Beyond Aesthetics: Visual Activism in Ile-Ife. The Yoruba Artist. Washington D.C.: Smithson-ian Institution.Mason, John. 1994. Yoruba-American Art: New Rivers to Ex-plore. The Yoruba Artist. Washington D.C.: Smithsonian Institution.Oguneyemi, Agebike. 2006. Interview by author. 31 July.Ojeyemi, Ajani and Adeola Ogunneyemi. 2006. Interviews by author. 26 July2 August.Ojeyemi, Ojetunji. 2006. Interview by author. 2 August.Pernet, Henry. 1992. From the Dead to Cosmos. Ritual Masks, Deceptions and Revelations. Columbia: Univer-sity of South Carolina Press.Pernet, Henry. 1992. The Ritual Mask and Its Wearer. Ritual Masks, Deceptions and Revelations. Columbia: Univer-sity of South Carolina Press.Pirsig, Robert. 1974. Zen and the Art of Motorcycle Mainte-nance. New York: Bantam Books.Rabiu, Abesu. 2006. Interview by author. 31 July. Taiwo, Olurotimi and Olowolafe Ruffus. Interview by author. 31 July.Yemi, Oyabo Osun. 2006. Interview by author. 4 August.mind that Im not allowed to see the masks, she said. Women mustnotseeGod.Ihavenatural,intuitivefeelingstowardmy obligations as a priestess of Osun, and that is sufcient for me. Osun reveals herself to me when I divine truths as I carry out my rituals (Yemi 2006). OnthenaldayoftheOsunFestivalavirgincarriesthe otonporo masks to the river bank inside a covered calabash to protectOsunandhercreativespirit.Thecoveredcalabashof sacred unseen masks rests on the river bank during the culmina-tion of the Festival while a variety of non-sacred, commercially-basedmasqueraderscelebratethebenetsofOsunsconstant restorative powers in a more raucous, carnivalesque way. Adigun explained that Osuns feminine powers are univer-sal and magnicent. Osun is always accompanied by water, and water can overcome re. The ery, angry spirits are subdued by Osun.Sheissensitiveandisalwaysreadytomarryanyother rs.Shehasmanyhusbands, includingpotentially threaten-ing rss such as Sango (thunder and lighting), Obatala (intel-ligence and destiny), and Ogun (iron and war). This explains why many other rs carvings surround her in her grove and whysheoftenservestobalancetheotherrssdeep-seated urgestocontrol.Consequentlyanyonewishingtounderstand Yoruba myth and masks should come to the Osun grove rst (Ajani 4 August 2006).ContemporaryYorubatheatricalritualcelebrationsin-volving the ancestors, women, commerce, or rebirth continue not only in Nigeria, but also in areas of Brazil, Cuba, and Haiti whereYorubaslaveswerebroughtinearliercenturies.Even after an extensive passage of time, the masks and celebrations beyondNigeriauncannilyresemblethoseofthemotherland. AndYorubamaskmakersinOsogboandIle-Ife,Nigeria(at leastaselectminority)stillbeckonandcajoletheEgungun,