Oshe Shango and the Dynamic of Doubling

Author(s): Robert Plant Armstrong

Source: African Arts, Vol. 16, No. 2 (Feb., 1983), pp. 28-33
Published by: UCLA James S. Coleman African Studies Center
Stable URL: http://www.jstor.org/stable/3335846 .
Accessed: 17/06/2014 22:59
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .
http://www.jstor.org/page/info/about/policies/terms.jsp

.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of
content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms
of scholarship. For more information about JSTOR, please contact support@jstor.org.

UCLA James S. Coleman African Studies Center and Regents of the University of California are collaborating
with JSTOR to digitize, preserve and extend access to African Arts.

http://www.jstor.org

This content downloaded from 91.229.229.129 on Tue, 17 Jun 2014 22:59:58 PM

All use subject to JSTOR Terms and Conditions

Oshe

Shango and

the

Dynamic of Doubling

ROBERTPLANTARMSTRONG
During
Press,

my tenure as Directorof Northwestern University

and subsequent to the publication of his first book

on Ifa divination, Bill Bascom said that at some point he would
like to work up a book on the art of Shango. He was thinking, I
believe, of sculpture, though my editor's fancy had leapt
ahead to envision a broad and integrative treatment of all the
Shango art: costume, music, song texts, dance, myth-tales,
secular tales, and so on. I encouraged him on that occasion,
then frequently thereafter. But after a little while I desisted. I
had begun to suspect his idea had been wistful-more an item

on an agenda of desire than one of real priorities. I mentioned the project now and again, in accordance with polite
publishing behavior, but with diminishing frequency, for I
knew it was likely never to come about. It is indisputably the
case that a publisher's expressions of interest tend to endow
an author's plan with a dimension of actuality. But Bill was not
one of those whose egos require such ministrations. He had no
thirsty vanity that had thus to be slaked. Far from it. Yet the
fact remains that the project was a kind of jeu d'esprit, and I
sought now and again to honor it. I don't know whether he
ever mentioned the project to anybody else.
In any case, now-in honor of that wish he sketched in iffy
air-I offer here a small portfolio of those marvelous batons
called oshe Shango, carried in rite and procession by the god of
thunder's devotees. This photographic offering is made possible through the generosity of the collectors who own them,
many of whom have made the additional gift of photography. I
take delight in noting this contribution by collectors and gallery owners, for, as Julian Brody's note of appreciation reveals
(page 90), Bill Bascom, unlike some anthropologists who are
phobic on this point, was hospitable to them. He liked and encouraged them, recognizing their unique role in the complex
of traits that constitute "tribal" art. From time immemorial,
people have collected other peoples' arts. Works of art were
given as gifts to important visitors; they were taken as prizes
in war. As catalogues raisonees reveal, the journey of a work
through time is a portion of its fourth dimension of reality. A
history of ownership and display becomes a kind of enrichment,an added power to the object. Multiethnic ownership of
a piece removes it from the category of art as a tribal
phenomenon to that of art as a human phenomenon. In that
critical process of a work's progress through time, space, and
culture, both dealers and collectors are critical agents.
It was while I was yet a graduate student, in the early 1950s,
that I first became acquainted with African art-particularly
with the art of the Yoruba. At that early date I liked Yoruba
least, preferring the easier idioms of Baoule and Baluba, arts I
but in terms of personal
now see (not anthropologically
soft
and
as
approaching the sentimental. But while
preference)
I worked with Bascom's Yoruba collection, my tastes began to
change. It was all due to my encounter with one small, glowing oshe Shango then in his collection. It was from Oyo, as I recall, and it was mighty in its consequence, for it shifted the
focus of my career, defining a stillpoint-a center of pivot from
which my ken, like a stone on a string, swung in everwidening gyre, continuously increasing in compass, swung
always to try to circumnavigate the world of Yoruba art.
I am not an ethnographer, and so I cannot here extend discrete knowledge as to how and with what consequences the
LEFT 2. HARRISON EITELJORGCOLLECTION.
RIGHT 3. COLLECTIONOF MR. AND MRS. JAMES J. LUDWIG.

28

This content downloaded from 91.229.229.129 on Tue, 17 Jun 2014 22:59:58 PM

All use subject to JSTOR Terms and Conditions

I.--r

... I

-.I

"

.t
11
I. I? --Wip
"
I4:ff-- -k
A,
??-.
I-I???R*?
,f
--ii
- wdr?
? I?; -II I.?,,I?r
I.'A
.,,I?--I
I...'.
I
,
I?.
I
,
,IIII
?I
1.
I
,!,
.,
,j,?91.
I
-,
.
I
,
. -11
I. I.- II.;.?
,'i
?.
,?,..t
"
?
.
v
,
?
I
,
?,
?
I
I
I
?
'r ... .
?.
,?,??,
-a
-??
,,. ?h
,I
-I
.
--,.,?
?
,
.... . .
.c
1
?
:llll,?
I?-?.
,
?
,?
-,
.
?,.
1.
,--:
1
?
I
- ...
,-T.
?,?
I ?.
I.
I..?.I.,.,-I*
-..I..:
m
I---..-,--?.?
1?-?,z",-.A,
",

.1-

"".*, ?', :-

? -- '

. .I?
- ,.I I .-

%I
.10,
i,?;
z ..

,?

,.i?

-- :..,-?

i,

:-ft

-?,

,, - - .. : I
. I ?-1I ? I?-,-4 .."?,7,.
,
?"
?:
-1
-I--I -i
, -I?. "I't t

.%2
I,..

I
. I I- . . ?--. .- I-*

?-

eV.
v,-

?-

.. ; -

I "I?. I- ?.
1-:_
I??
??..
zz
I?.
.-;
?
?-?.,z11
"%
'..14
A ?,,
?,?-??.?.
I
,-:-- --. -,:,
I
I
?
.
..?
- I , .?aa
l, ----,
1,
-? 1v- ,Nkn
e'?
??g,
,??.Vg
.-,-,?z
?ji
?_li.;i-----:?
I.RM,
-7?1--??,
-Z;
.-,c
E
??I
11
?
I
'i,-g;??
-??
Il
??-i
-,
.?,
I
-.?
1,
???,?.
g,
I
-.
?
_;
?
-1
V`
-?Og
,
--M
-"?
,',?,f,,,'-,,,??
-.
--??
,k
.::?
"I
,.
,
,
-.?-,.,?,
-,-?
?'r
,iM
"i-1, -?,,?
.
m
--i
---61
- ,??
MW
.1
.
-5
,S?
,
,
.
v%
.
F,
l
A
m.-11
-,lir-A
?:j?l
"",
?
;"i",
,?,--vgj
li?,?
-%
_
I----"
?
.
,?j,?,?
.
"
7
.
., ,?;
---?--T't?-?
....
?--?W'-;--?I-,
??
?D
__
I,.,-,.,
?=V-g?
--?
--,-??
?.,,-?6?-;-?
.D?-?
?:----?-???O,?2"M
RX
...
.?%?-:..
,al
-,,....
,-..
-1-,?
?_71-..-36
-?
:?
-,.,?,?
O"
-??'
?.?'x
_?
- - -1,
5q
?'-?
R -rl
-/N
?
?:
,-?
.
.44
-%M
,i.??22
-----Zis
--?"-n
,1115?1
?-WN
11
,
-?-N
i4NWR
%&--I-i-?l-_-_;
..?-1 I-,
??
. -2c
Eld
ll,:.?s-_,
.,
16 ? - -I .1.,?.?
-??
.
lg?m?,?=
?-?,?-- - &":K
,ll?;- ?,

.- -I

I",

I-

-11
11
?-?,
...?
-....
....
--1
;-???_,-,
I..
?-,
????
,;? ,?

,z.

':

?V -,
,4%
-?
4V
o ..
gn?
-:?l
I- ?,,s , , .........
-?-:
g?,
?V,
II??7?,
II-.;.. -,I; -?i
.I. I ..--II "-.?,
?
I
?, -f

IM

,.

v"

,-

--

I _-

?Z:

il

-, -Ad -.I?
-W
,?.
&
??
..
.
c--,
,,-?L?,
----,. .?--?,12,2j?,
--- 11
"
?.
- ,g
zK
QVI,
mi
',
-41--r?'r,??.,,"?,
ir 7,
iT.
'd
.
?I I ,
,"--"',K'll-?-.-, -:??.-?-.-.
Mmumm
?, -?-ll??-,
--??,
'Pi
-,gm
.,?-, ,-??,,?'t
??
-XAF- - I,??t
",
-?
eo
M
c??
-g?
--??
.
......
K4?F
.1
"I
?,,
I
,?..
,Z??a?;
-:?
,",
:ffii?,
----I,
,,-,, --, ,-,-?-,??--I, ?1;.. -,-???'?j
-,---,
,..
:-N.67,
- Ve.-,-e?,
. --,"--,_,-._---,-.,---P4
N??-??',"
,;.T-M
- ;.?1.
,??
-?
,.1,
,,,
-W
-, a- tm
;,
M-C!,
--.?.
??..
'3
WW
?..-,:?
- -0-m
k-*--Illfl-?-?
w
??p
----,,?
.11
-.--se,
-...
-?
.,Jf
-A
.qv
-?:
1?-.:--,
-.-?'?,?.,,
-,r;?,??.i,
-.,..:?j?.i!::,r,-K
.I.,-?
-,--,:-.?",---?','-?-???,?-*,?-?-????----??lz----??:?!??;,?--,?-I-!-?
-M
-m
-,- .U,
?.
.,?,
,,
.,?,,'.?',
,,
?
-:?---:
,.."--- 4E?F1:
-1.1.11
?`
-K
----?--??L?:?-r??---?
?
?--?
., ?',
..I im
,, - .m
,?-.".
,-eK.??,,,?ro
a,
,,Q
-----?,???,,
--.1.
. ,_
,,,??i_?i
,-,,'?,-%?'.?:,?---??
,
?
--4,
-?,?
_?:-??!?.
I-ms
,??i?;:
?
??:
-g-l,g?
???,?,:
?-?-.?
-??---T?ji!?r---:?-.z--,
-4--jr,--o
?,?,?,
-. :-,??
-,
4,o??",-<,??A-,.i
??.:.?!,.
-5
4-----W
-?Z.
-,
-"?'.
N.
---,
N
.?.
,?.,
??,?-.:
Z-,.-,,;",.'?,-I??i?::-?-'?T??`T,--??,,??
.,;,,F
.,,r--1.
:?
:.,,-,
-??;!:71:1
?",
:?:?
-W,%
-?I,,?-?
???.??ii??.::.?;?'???--.T-i?---??,-,.-,???;,?,??i??,-."
.?:
?-tI??.
r?
.-,-'?
,.,:.
-?m;?
in?
,?
1:2111--l
7F_
,..
-,,-,Tll?
-7?WO*.
?
?
?,
??
..
"
,
---,
jO
-I11
-:?,
--?
?
.,
mMw
R
-!!?
.
I
?-I"
",
-g??,
,?
.-,;
,
?-??????'?l.-.?z??-:,i?,??l::?:1-;?-i??_-???,'--??,
,
a
C
-36
-`?4,?,??,
-I--,'
..
..
1.
---,
z,
---,
;??
"I
-:
-1
T
???5.t
-,
,;,)?-r-,::.,.
,
",
Im:;-.-?,?--.'",
?-;,?Mwlr
--,-??,
.r......
-,.
?
W"
?,'?,w??
?;c?;
`T?
?,
??;
?
I.
?
?
,7
,:-,;:,.?
;k,..-.,.".'il.'???zi:-?iiiir???,?
?s??I?z::..-?i,.,
-,k,
-;--.-.
-,
.e:.,?
Z"
??-','?!?:.
?`
--9?,
K
?
,?:,?,
-.',??---:
-I
.
--i",
f.,
?,,
l-t&l,,-.",
,RTT
M
,
r.
,
?
......
4
,
.
.
?'
-T-1
.1
?.
6:
------,--?r
1:15
i--6al
"?
..
r
-F-??
_.,..
i,
...
,?4-??--,-K7,,
?,??
,.
--T!,
,?,r
?iivr:..:,,?
.
?
?-f-:AC?.??.?!
- I-?.-W,Iffl
-%l
:??,,-Km-?
ni??
?--.1
--:,U
,":
I'll
,-,,-,?N---,:,
i???
,;:ii;g
A-M
-:--,Rz-;
-?
im.
-7r,.-,.-,??,
-?i
?z
.:---?-,jr
.
---Z.,
?.,
?---1
??.
,,1...?
...rZ
--1.
,.----I
';...,
.,l?,.
--?I.
i?,?'?Cl
_1
-?--,
-102
_.
?--V
W
---,,.Tz
?,
...
.w!..
..-,;
?,?--:''
?,--,:
z.?,
"-".
"?,''
.i-,
-.,,.";
-6;?.
...
4'.'
-.-----"-.-.,..
!.J?-.-?IAIMPO
,,...,-g,-,,-,,
?i??
?.7i,
.-.;-!:..?Mi-,f.-:j7%.j7jm
--,?
--I,-1
,-..'?V
- --?
,g?.!,
.-Z?,
,-I---y-,P---?..---.-?,
-,
?f---.;:,
?-11
?.7
0j,.?,
.??
.?.-?N.,l?-ik
"
.i?O-XT
74,
??MW
AP
-.?
-.,;??-Ci?a--:
--?,--?--j?.-...'
;f?Xf
??-.S-.%
"
.
-.-,?
.,?...?-,
iii
---?i.
-.1
,;,
...
?T:p?-%?i-:?--,--;,
??
.-z
?-,-,'-O
-i,,..,rm
-,4
?i?
-?
.,?,?,;-:'
??--C?%
?-,?. -..,.-11
--?,MX----:
:71
,--'
-?,?.,-,---?
-,'?X-a
"
-,
""
-?,--,??-:F
n,
,.,?,?',
.-",-?-!
I-,
?-??.-ll?l
??',
i4,
1,''
--,'-',
tw
??--,.,.
,--,
?,A?7?A
'?
;?;?:,
?`,
?iK,:
,;,,"
I-,--11
?,,?
-,??.
Sc,?,??.,,?Z*E?.?
---?-;7L..--,,??:-?-i??,
U
I..-?,,
-ir,,,5.R?L!
,,-,"',
,-.":-?'
-,'.
t??,,?R.
--.,?,??
-,. ---?e;?
i-N?,K
-,I,-?.'_-?
----,---.!-ii
---i
?.
-,
,f-,.,.
---,?U,&
7:??,?!2.11,gg---rzmp
,-47,
-?
--,-,-,?---`-,.-W,---,l
,-,
-.??
7?--?
-?,.?,,
- ?7?
-?
----,
,--iZ;?.?--;-.??
?,??.??,?
zif-:?.,r??;-,??,--,!?
-??',
?
,-?K
v-v11
?
I
I
-.
z
1
?11-v
---,?-i
-:
.-'?,.?.???.-,f7,-?!?,-,
?
....
.
??4
-??7
ff?--:!??F;?
-:::?
,?
1.
F?
ig.,;
???:-.i
I
?
.-:
??-,-,?l
,,!?
4-W
?
,
,??
?
??-,.,',.?,.-?";?.-?-:---???,'-,-?:??,?",41
-,
-?;-???::??";?-,i??-2?-?D.
,.,.??r
.
,
21*200
- ---:,---,
t-??f
,.--".--,.----,-??Na?
II.--,-?,,,,If?W-z:
.-M.
--- !%.,-'
. .-?:?i!?
---zT?-i?
--Jlc?
-4
I".....
?-=;?,,
1.
--.
v4r?
-".
,-?--. ',
"'?-"--t?,,,-I"-?,-.
-f,??;?,?",?";?Iij
,.. -"--,.-,.------111?..
---I.
--w".1,
,'N.N.
-?V_
vv-v?11,
??.----?el.--e--..?----?-----,-I
?-??-.?,
,,?i
-??
X,YgR"
I..
-:?
----.
. it
,,e2I?
-?
-??
. ??-r?7?,-,_?,*,
,",
-,,-.;?
,-V?HO,,N,
..--.,
?,-::z??-??-?-.?,."??,.".-.-??,
?,2?,:,?,
,f?.'..'g?
?-!;?
,,?,
.&
,0!?R?i
-,,,L,.&!;,R,;F.,,?4-,
-,,---;?.--,??'z
--??:?i
..,-..-r--.
.91
--:,,-?.-?,
,,,
-%?
I??",'-?
I?:
-',-"..,-ll-.
I-.,
-??,?:;P,?,-Nlc-,M
I.2N
I-,:?t?eii?
--.
-1
I--,--;l
-;;&,
?11,
- ,.---.''
.n?,?;?.-;?-?ii
--??,
-?,
---?:-.N?7,iF?;:?."",-?-,
,I?_:
-?M
,
?,,
-iIp
.',
., ..;
c,T
?kSl
.!T.?l;f??;?i;"?--7-s?;??:?-T.-,?,:,..?--??-.--.",r?l.'??.."?;f:.'?-..?
I-,`-,-?-,,?
1?3-v
,,.,"I
I-I.?;??r'-,--1
rfgl?'-cc..
,---?,4
,r
,?-.??,?'cc
--;?;
-,----...
??,?
-.1-I.-I.-I..
4,--YI?
?-?,?-;--, -,_??L;.:..
??
,i,
??--,.,
--?7?
---?--,??f-'?",?.-'?
--?
------,
?Ql
"I--,,
- I,----?
?,17?-?,,
i,?-rf-g
:,-'
,--,?;?l
1%
":---::
'1?
?,,?.,,-,-,,,.--.---,,-,-,',?-,.-?
---'A.
I-I.ll,?-Il
---Z:,-"
-7?:e;
?]!-i.--.
X-,;
- ---,-?7-1111--ZII ?-.,-.V.?
, --,
,?,
-,;?,,?:'?u-,,?
??c
-Y,?,?O,
-"1,
??
"I
?-?',
,-, ,?Ks
--?
-:,
?,,,
?-,V;,
---n.?,-_-_
,,---.,--_?.-r,....5:1--..".:?.???..*
...ii,?
- -, .ij:?
- -,,,,--?
,;?,??
-, -,
:0
-6?-1?11-?
I?I-?,,
-5?,,??
-

- I
-"
- - ,-?-?
:

?-.

.1i

-?', ,

U.

,?

,-kz!,2?-,N,?;? ,

,;3

_-,

,?

k'?

!'?-,
?
7M
I?MAE,
--,.1-m0f
:R?
?z
.W,
,-,.?
N
---,
QN?c
0
n
.
,
,-m,?,
?
W
-??
i
.11,
56-,
W
-25
?
,??
,?
M
??,qjrj,-?,?
-??i*
-?
-t,.W
,
,-,
,
,
---w
I
,..
-Vl
I
z,
?W
r?
,...
-,
,
'A
",-V?
,??
.
"
-:
-"'
,e??-,,
M,
-,;
E
,-,
-?-?
x
MM?,
..,,
P
P
0e
a
MR
.
??
M
c
?&
-?
.1.
..
??
1.
-,?
,
,
-,?-..
-M
-N,
15M
-!kftf
,
*vn
I
-I
g
,:
?
?$01.
Ill
ii?-ii,
'-l
S?
--1,
Ift'-sm
,
-??i?z'
?
zt5'
I
M
,*-n;k
"-,.-7-::::
1:
.-,,-"
---Wew,
?
M
2.
:
'??'ffl
--k;
-----N
M
-Ti
?
,IM
IN
?,,-Ml
.
fig
.
2pMPOR
U
,?
,-S-0
?
q
t,
-'.
M
'2?---.---;
"
Mm
'i-t??.
--,
-,%K.I?
.,-?-,??-ft
.,
-g.4?
I
L
m
.,
-a
m
%,-ig-g------q
,,,
;
.I
W
z
--,?!?,--vz?-,
,
?,,-.
---&
-I.-I
?
-,,
,7
M
,
R
_
"
??2,-;?,
'3?,-z
.-,
m??
-"
z
grff??-M
I
-'4?iel-??,
A-,,
.
,
?,
I,,5?0
?-?,
-??*??ii?-??-?,,
.R.
?
r
4
09=1?14
M
,-?m
K
a;:,?Y
M
..
7
ia,150K?U-tsT2
,
,-,-I..
...
???
,
,?
?-?,..
??
?,,,?P
i?i?
-.??is
?,,?.??.?..?711-?-?m
-w
?:!
`?-,-?f--??-It...
-.
-?-.-?A'-?
5g
III
??.??,?"'A?*,-;-,-??,,?','t','?A?
-,
'.
pw
-??A
',:'
?
,--l--,,,,_
j.;
Y'",
,
,
"..
n??,
.
?
11
,
??.??
,
?--.g?1?5
-g
`
,5
?
--?,'?
"W"',
-4?--W.
I
.-.
,111
I
?V!
?
?
??.
,,,,,.........
SA?
-?
--.--,F?
?
-?
??.W
M
J
-,
?i-bl
-,,-0,
r.
-Y??;??&
?"'--';??,-??
?,
1.
"
?-,-1-1--41??
""
---.i----,?.??^,,????
-,s--,.,.
-:?-?--.
,?,
-z-?.??--?---?---,M
,;",
?..---??-!?'??,L??,??--:-?i--i???i?:?,?,?-,?-?.?-.?
i!
---?O
--l".
m
---,,f
-...
7,
?M
--,??,,--?
,-?,
,?111-1??-?
--X?
11-1--;,,s--,-.,.
??,,
--'R?
?-1,1
-:
-,?f'?,?',.-;X
--.
.Dc??,
-.?
,,-x-:-T-?
,,-,
!-,-.
-,?,4-;
--.-,,,r54.-X
lj-la?o?&
---?-,?,::
,I.
-_--,-"
?,
-?-'.,??,,"?,??-?,??_:???l????,?.??.???_;-_?--?
?-Ze_?4?1
-.-?X
?7'-?
,"
,;i2f::??--%
??-?l',?f?.-'.?-,?--???-,-.i?,??.
??
,?,
1.
II?--im---?--'!'
&A
-V
-.,%
...E.
?IG?--K-,
,r??
--1
--,..-.--l:'!X??
??xe-?----,?-,-,??,v,,??,?-,--,?"-,:.;7.-"?,-'?:-?,..--..-I ---;;,?s--.,-`,.?
-?,,,
,;?',
-?r--M
_R
-a,
?-??
.-??-,-.
-;--,I
N
-?--%M
-;
??
?',?
fj,
--?,IF-I 19
-,"...,
-W
,...
,?,
,-','r??
,1,
,""
-:.?,
"
--??--.
?,,%
6.;Z----?'-?-r----m
--?'
1.
I
.1
-??
-..
."
v
i
--l-1.
-,-,-?'????r?-:-,011
?;???.-"?,s?,'??,?g
,
-.
"
.1
?
..--.
..
-R,,',?0','z,?id-.---,
-.
z.
i
14W
2?L?
-:
ig
-"??rf7
"
-!-'--'I.L.3',
?-,
g-p_
,
.
--?--?
,
.?..7
-,
?--,-,
....
...
-,-?
?,
-,
V,,-??--:-,.--,,
--??
??,ni:faz.?-65.,.!?J
.
-i?7
?,??,,?,iK'---?
-,%"--rE-,
"
--,
,"
.,
remo
...
,
,?I,
-,
?-,-,?
?
---,?-??:,????_:?--.??,-.--?,,-??-.,;.-,?,
Ix
;.
i?
.'
- -.-4.--??
-ffl?
7.,--A-,.ri-,?L
....--.
-,??-,-,-,
1,
??
1-?,,?,,3i
--!?,
,?-?z
.N
0
----?--,.
-,??:?;?
,?,?
.i::iii
.1
I,--...
-1
"'
--?
-.?
-'--."?
M,
,?`?"
-r-.--??,:;?,
--?
7--,?-,
--??----,
---,,,-??-.-?",?i"?"?-.?---?'----?---?'.."".
--.I
,,..?i
-1-w
?-.---','?-'
I-:;v
?--:,..
-,!?
-.
I'iI;,
'M
.,,-,-':,,?
`,???,
??
IRZ
,??,,,-,
rI--a
.--?"'?-?,?,-?
.7?
,-"'-'--N
.,,.?-;
,Wf?e
?.
I
I.,
.P
4?`.,.-----h
-,,?_;;,:c?c%?,
-?-'-.?-,:-'-?;?A?,
?
?,-?
-r-?-

-?

". I'l

ir?gege,-g@f

-?

?,'- -

~73~~:
s
iB
Is i:-?~
pd;a~r::W
69,,:e?-;,,
D
r~-u;

~-~E~

~i~";

;;:;;.;iREE:-i:_iBS~l~~i-jlli~iP-o-i

'?

~t ::: I

i-i~l

This content downloaded from 91.229.229.129 on Tue, 17 Jun 2014 22:59:58 PM

All use subject to JSTOR Terms and Conditions

I.?-' "?

oshe Shango is employed; nor can I cite ranges of opinions concerning the virtues of the various pieces. I can, a little, expand
the reader's purview so that he might come to witness the
work in a little of that charge of power within which it exists in
its native aesthetic.
The sine qua non of the oshe Shango is doubleness, and the
solitary presentation of naught but the twinned celts-without
further figure or decor-the Yoruba believe to be the operative
principle of thunder; this alone is sufficient to establish such a
work. Accordingly, sometimes the baton is simply a handle
surmounted with twin blades. There are some instances in
which the blades themselves are further powered: with three
Yoruba marks on either blade; with a face in the center, covering both celts; or with a face carved upon each celt. I do not

4. PRIVATECOLLECTION.

locate one of the very simplest of these several forms, that

composed simply of two celts, but the other two I illustrate in
Figures 1 and 5. This last example also bears relevance to the
next and major topic of this discussion.
Before we proceed to that, however, let me note that, in
general, celts are figure-related. In one remarkable piece, we
see that this can be minimal-it has a head only (Fig. 3). But
full figures predominate, sometimes kneeling, sometimes not
(Fig. 4). Further, the celts themselves are sometimes subject to
special volumetric interpretation, "dripping" (Fig. 2) or
enacted in the power of greatness (Fig. 4-also endowed with
Yoruba facial marks). Now and again, this hyperbolic emphasis is coupled with further devices, in the instance of Figure 7 a variation upon the theme of doubleness: here, two divination chains, perhaps, with four devices in front and four
behind (over each celt). It is this which leads to the most interesting point. With respect to Figure 6, one ought to note
that whereas figures are predominantly female, rarely they
5. PRIVATECOLLECTION.

LEFT 6. PRIVATECOLLECTION.RIGHT 7. PRIVATECOLLECTION.

30

This content downloaded from 91.229.229.129 on Tue, 17 Jun 2014 22:59:58 PM

All use subject to JSTOR Terms and Conditions

This content downloaded from 91.229.229.129 on Tue, 17 Jun 2014 22:59:58 PM

All use subject to JSTOR Terms and Conditions

may be male. (This male carries an oshe Shangoin his right well. But even if there were no other instances, given the critical roles twins, witchcraft,and fate play in traditionallife, we
hand.)
The dynamic that is most interesting is to be found in the should with strong reason continue to maintain doubling's
theme and variation of doubling. Doubleness is a basal import.
Doubleness is sometimes associated with richness, with the
dynamic of the Yorubaconsciousness. And whether its enactment be in simple statement or in repetition, and be these un- abundance of the full life. (Witness the frequent opulence of
derstatedor extravagant,the works of the genre of osheShango sculpturalarrayssurmountingthe Gelede masks.) It is also asextol and celebratethis estate. Tobe sure, we encounter other sociated with comparativepoverty of sculpturaladjuncts,as in
instances of doubleness in other Yorubagenres: in the twin the absence of sculpturalbaroquenessin the twin figures. The
figures, in the paired masks of the Gelede masquerade,in the contrastbetween these two contexts of doubling is intriguing.
twinned halves of the divining chains, and, in some instances, It suggests an ambiguityabout doubleness, and ambiguityis a
in the duplicativehalves of the borderdecorationsof the divin- state that often is testamentaryto the presence of power in a
ing board. Doubtless there are other instances of doubling as concept. Against this possibility, the twinning of the border
halves of the divining board seems to be more than only
gratuitous-or, if willful, then not empty, as mere design
might be. It is only in the osheShango,however, that doubleness of theme (like the ibejis)and doubleness of structure (a
proliferation of incremental details) combine in consummate
Yorubarichness.
Doubleness is an aspect of oneness, in which-it is clear-it
has its point of origin. There must be an idea of one before
there can be an idea of its duplication. Man himself is a oneness who is at the same time a twoness: mortaland immortal.
Shango was first man, then god. Twinsare of one soul but of
two bodies. (One must note, as a doubling upon a doubling,
that Shango was the father of twins.) Doubling is syndetic
repetition-the power of duplication. That which exists doubled exists, as it were, as the squareof itself (as the 16oduof Ifa
are squared to 256). The self times the self is power plus
power-celt times celt, thunder times thunder, Shango
squared.
Such is the enacted power of the Shango batons depicted in
Figures6, 8, 9, 10 (referonce more, as well, to Figure1). These
all represent multiple doublings. This doubling is typically
enacted through heads, although in Figure7, as alreadynoted,
this dynamic is sometimes effected through other agencies. In
Figures 8, 9, and 10, the doubling is superstructuredupon the
centralfigure. In other batons where there is no centralfigure,
the doubling is not finialbut is an aspect of the core itself. One
baton has ten heads! This doubling seems, perhaps, more
abstract,and the former three figures more human oriented,
with the divine thunderbolts themselves eventuating in
human heads, a powerful metaphor of the human center of
Yorubareligion.
Since this is an aesthetic rather than an ethnographic
contribution-though one aimed at explicatingthe Yorubaness
of the aesthetic power (for power, in final aspect, is what the
aesthetic concerns)-and since my own aesthetic is in the
selection as the Yorubaaesthetic is involved in the creation-I
shall indulge in a personal comment: the last piece (Fig. 9)
somehow brings me full circle, for as earlieron in this essay I
noted that it was a glowing oshe Shango of Bascom's that
launched me upon my inquiries into Yorubaart, so does this
O
last piece indicate and validate those years of thought.
Onceagain,as in my recentbook,The Powers of Presence, I am
indebtedto my friendJohnBuxton,galleryownerand manof proeyes(heneverforgetsa piece).Johnhashelped
digiouslyremembering
meassemblethis collectionof pieces,andhas initiatedandsustained
all the contactswith the owners.
8. PRIVATECOLLECTION.

LEFT 9. COLLECTIONOF ROBERT AND NANCY NOOTER.

RIGHT 10. COLLECTIONOF PAUL AND RUTH TISHMAN.

32

This content downloaded from 91.229.229.129 on Tue, 17 Jun 2014 22:59:58 PM

All use subject to JSTOR Terms and Conditions

I'

i'~3

*../

.i~

.'

,,.,

..

'V~-

BPi.

'
'.
.
,._
. -. -

ii?
?

Ic

_.

-.

+'' '" + +:+0t

? .i:.!:"ii

*..

~ ~ ~ ~~~::

' :
-.. :..
???*ii.]i*.
::
;+:::
?9
??
".:.:i.

...,"i
..............~

.:??

.: i.

.:..i!.i!
.
..

'.:!i"!.:.
:';? '

,!

This content downloaded from 91.229.229.129 on Tue, 17 Jun 2014 22:59:58 PM

All use subject to JSTOR Terms and Conditions

" . ...] : .

:;

,;.-.lr