81.

YORUBA  RELIGIOUS  CARVING  (A REVIEW)

by A.K.  Quarcoo*

The  purport  of  the main  title of father Kevin  Carrol's

book  'Yoruba  Religious  Carving1'  Is greatly  elucidated  by
the sub-title,  Pagan and  Christian  Sculpture  In Nigeria and
Dahomey.  Although  the'word .'pagan1  is not, to my mind, a
very  expressive  term,  readers may  have heard  and  seen  this
word  often  used  and are  likely  to know what he refers  to
that way.  He may  regard  the  term, at best, as a  technical
one.

Father  Carrol  sets out  to  Indicate how  Investigation

and  experimentation  are  proceeding  in Nigeria on, Church
Art  to find out whether  Orthodox  Christian Art can or can-
not  be supplemented  or  substituted  by the sculpture of any
particular  culture.  He  Is primarily, of course, concerned
with  Ekiti  district  sculpture as a microcosm of  the Yoruba
or  Nigeria  sculpture.

Throughout  his book, he keeps  putting  forward  the

proposition  that  Yoruba  sculpture  is not  so  heavily
religion-orientated  as  the general, but  scanty,  literature
on African Art  tends  to suggest.  According  to Father
Carrol,  (Chapter  I) the experiment  which  commenced  as far
back as nearly  three decades ago was  l.nspired  by the  finding
that  pagan, Christian  and moslem adherents were  familiar
with  the pagan  liturgical  year  and could  describe  it in
detail.  When  this occurred  to Father  Patrick Kelley,
Provincial  Superior  of  the  Irish Province of  the African
Missions  Society,  he decided  to establish  a centre  to
adapt African  crafts  to Christian  uses, since  it was
evident  that  recognition  of  the  traditional  arts  or/and
crafts would  be more meaningful  to the  local  converts or
those yet  to be  converted.

*  • Or. A.K. Quarcoo  is a Research  Fellow  in Social  Anthro-

pology.

1.  Pagan  and  Christian  Sculpture  in Nigeria  and  Dahomey
by Kevin  Carrol.  Forward  by Will lam Fagg.  Published
by Geoffrey  Chapman,  London, Dublin, Melbourne,  1967.
Chapters  XIX  Illustrations  128.  Line Drawings XXII
Colour  Plates 2.  Price 90/-.

82.

Father  Carrol's  book has XIX Chapters; Notes  to the
Plates, Bibliography  and»Index  sections.  The sequence of
the chapters  leads\the  reader  gradually  but  surely  to the
theme and  the main hypothesis  of  the book.  As  I see  It,
Father  Carrol was concerned  in drawing our attention, not
only  to the fallacy  of  labelling  all  'African  sculpture'
as  religion-orientated  or motivated,  but also to the rudi-
mentary  paedagoglc  principle of reaching  th£ unknown  from
the known.  That  it  is unrealistic  to put all  types of
African  sculpture, or arts  In.general*  in one  'pegion  hole1
of  'art with a religlous background' or art  for  religion
has, of course, been already  recognized  by a few recent
art  historians  and anthropologists  or sociologists  who
look at society  through art.  Father  Carrol's  meticulous
first  hand  field  study of the problem  Is very  significant,
and  it puts him among  the class of scholars whose work on
the  liturgical  arts must  be examined  painstakingly.

Carrol  talks generally  first about  the Ekiti  experiment,

and  then discusses,  in chapter  two, his view of African
Imagery.  To him African  sculpture  ranges  from  highly
naturalistic  to very abstract  figures, and both  the style
and subject matter  cover  a wide  field.  This, of course,
Is true and  its restatement  Is necessary only because many
books on African  sculpture  do not make  this clear.

The  'result' of  the experiment  is yet  to be

specificlally  determined,  but  the fact  is that  it  invokes
the vil;al  teaching or communication  principle.  The sub-
stance of  the book should  be able to stimulate more  interest
and observation  of  traditional  art  in relation  to the
Christian  Church.

Yoruba  Religious  Carving  is easy  to read.  The

style  is simple and  the order of  the subject matter of  the
chapters  attempts  to  lead  the reader  sequencially  to the
heart of  the problem being  investigated.  Chapter  III talks
generally about  Nigerian  art, and here, Carrol  draws our
attention  to or, at  least, reminds us of the range of style
and  subject matter of Yoruba sculpture.  The earliest  known
example of  the Nok culture  Is cited  and  the reader  is reminded
of  the usually stylised  Interpretations of natural  forms.
The  famous  Ife and  Benin bronze works are  mentioned.

Chapter  IV reveals  the type of objects usually carved

83.

in Yoruba.  Among  those  named  are masks, religious objects,
and  Ibeji  figures.  Yoruba carvers  illustrate Yoruba life,
dress,  tools^rnamepts  and anecdotes of village  life.  The
writer  expresses  doubt about  symbolism  as a feature of
Yoruba  art  being as  pronounced  as  Is depicted  by such
writers as  Leon  Underwood  or  Elsy Leuzlnger.  He, however,
does not  rule out  symbolism  in Yoruba  art.

The  point  about  Yoruba  religion  in the fifth  chapter

is very  relevant.  The outline  of Yoruba cosmology  Is
discussed  to show  that Yoruba  carving, and  art  generally,
could  be used  as a medium  for effective  evangelization.

There  Is God  the supreme  being, but a host of  spirits
are considered  only  because  they are supposed  to be sent by
God.  Hence  Yoruba  verbal  art  suggests  that God  Is  Immanent,
although  the style of  the  traditional  liturgy  does not  clearly
Indicate this*  There  Is carving  devoted  to religion  and
religious  behaviour  but as  Is suggested:

"The Yoruba  do not  Identify  any  spirit
with  an  image; nor could  It be said  that
they  believe  spirits come and  dwell  in
images 
Reference  is made  to Talbot's
analysis  of  the beliefs of  southern  Nigeria-
ns.  That with  few exceptions  the deities
are represented  by symbols  before which
sacrifices  are offered  they are never  thought
of as gods  themselves, but only  convenient
means of concentrating  the attention  and
providing  a  point  of worship."

Again,  the  point  is made  that  "words  like fetish, juju

and  'idol' are  pejorative and  cannot  be applied  to Yoruba
imagery with  any  precision".  We are  told  that Yoruba  'orisha1
are  personifications of attributes of God and  It  is not  very
right  to accuse  them of  Idolatory.  This, of course,  Is a  point
of opinion.  Father  Carrol  has, to my mind,  raised  a number  of
vital  hypotheses  for  further  field  examination  and  this  point
is certainly one of  them.  In his  book  'West African  Religion1,
Geoffrey  Parrlnder made  the same  point  about  the so-called
joujou, page 9.  (See also M.J. Field, Religion  and  Medicine
of  the Ga  People,  pp. 77 - 78).  Carrol 's references  should

8k.

be  Invaluable  to those who wish  to have a more  detailed
background  to the sociology  of  the Yoruba.

In Chapter  VI, Carrol  seeks to describe  the  'orisa'

and what  it meant  to the Yoruba —  that description  is
excellent.  Chapter VII  Is  Important, considering  the title
of  the book.  Typological1y,  religious carving, he says,
could  be divided  Into four:  (a) Carvings which  portray
orisa;  (b) those which  portray cult members;  (c) the mask -
as distinct  from  the superstructure,  Implements,
(d) architectural  units decorated with  'scenes1  from
Yoruba  life, pots, drums, shrine houses, and  bowls.  Eshu,
the trouble maker,  is often  depicted with  something  In his
mouth.  His discussion  of the types of carving  showing  cult
members, masks etc., are helpful  and his conclusion  In this
chapter, namely  that  the art of Yoruba carver, at  least, as
far as he has known  it,  is  'humanistic' rather  than  deeply
religious  even when  directly  concerned with  the creation of
objects  is central  to his hypotheses.  If this  is correct,
the experiment  aimed  at adapting  some Yoruba  types of  carying
to Christian  evangelism may  be  successful.

Next,  in Chapter  VIM,  Carrot  talks  about what  he calls

'humanistic  art*.  His suggestion  that Yoruba  art  observes
and  reports  the  life of Old Yoruba  people  is valid.  Their
art  Illustrates  their  history  - the court, religious  cults
and  the farm.  Village  festivities, animals, and  traditional
history  are also  Illustrated.

For  the purposes of adaptation  of aspects of  the

culture, the author  observes, the culture must  be known.
Father  Carrol  Is by  this again  re-stating  the necessity of
reaching  new knowledge  through  the  known.

In Chapter  IX, the author  tells us about  the masked

pagan  feasts and  how they are not serious  things  today.
He says, now  the dances are a pretext  for collecting  money.
The feast  is described  efficiently.

Chapter  X  ts the beginning  of a survey of  the work
of carvers of  three generations.  Ulll  Beler  agrees  that
It might  be valid  to say that a great  deal  of carving  serves
wo  immediate  religious  function  but  It must be  remembered
that  In Yoruba  It  Is  impossible  to divide  the sacred  from

Hi

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85.

the profane.  He has not been  too happy about,some of the
figures and suggests that the  'puppet-like' and dull
figures give only a  'profane  Impression1.  However, he has
said elsewhere  (Ibadan Magazine, page 38. November  I960)
that an African carver abandons the  'deeply expressive art
of religion and settles down comfortably  to tell  anecdotes
of Christ1,  Father Carrol  Is anyway unable to accept Utli
Baler's thesis - that Yoruba art  Is  'deeply expressive1
of religion.  He trrlnks the Ekltl experiment  Is worth
pursuing, for a fully developed  Christian art  Is not
Impracticable or beyond attainment.

The Chapters XI - XIV are devoted  to the examination

of artists of four generations.  The comments on their
techniques arid  intentions make  Interesting  reading.  Maybe,
readers would  be helped from Carrol's first-hand knowledge
of, and association with, Auregon, Bandele, Lam id I and
Otooru, to decide whether  the belief  that African carving
Is Inseparably connected with  pagan religion  is valid or not.
The reader may be able to see the degree of  Involvement of
each of the four representatives of the four generations,
In religion.  His case studies strengthen his belief  that
there  Is much more humanistic art  than  is known of Yoruba
carvings.

Examination of carvers does not  stop here with  these
traditional  carvers.  A few modern artists have been hlgh-
1Ighted  in Chapter  15.  His hope for the success of the
experiment stems also from the trend of Yoruba carving  today.
He mentions Ben Enwonwu;  (painting of Madona), Benin carvers
for tourist  trade, Felix  Idubor; Festus  Ideben and  Paul Osagie
Oslfo.  None of  these modern carvers could be said to be
Influenced  In his work by religion or1 religious  ideas only.

the account  in Chapter XVI  is not unlike what one

comes across  In a few parts of Ghana where some effort  is
recently being made to turn away from the orthodox Gothic
style of church building.  (See A»K. Quarcoo  In Research
Review Vol.4 No.3»  1968,  Institute of African  Studies, Legon).
It Is not surprising that Arabesque patterns from Hausa mud
wall  decoration appearing on Ondo Church aroused opposition.
Carrol's account from which quarter comes the greatest
opposition  to the new forms of churches and the church art
generally  Is typical  of What  I have found  In Ghana recently.

,.Jt

86.

The opposition comes mostly from the older generation and
some of the more  'sophisticated1  church men.  Trained as
they happened  to be* to accept nothing bat  the Rennalssance
art or the commercial  art to which  they have been used  in
their new  'acquired culture1, they find  the experiment not
worthwhile.  Opposition  to new forms of church art  is a
universal  attitude not confined  to Africans and this Is
rightly hinted at by the writer.  The chapter  should be
read by all  people desiring  to have an  idea of the odds
that anybody or  people wishing  to bring about such changes
are bound  to face.  (cf. Ecumerlcal  movements).

Somehow,  the younger  and more educated generation  Is
more sympathetic  towards the  Introduction of  the new forms,
which may  be called  'African1,  into the church.  This may
be due to better understanding  of the message of the
Christian  gospel  and or  the desire of the African  to
'rediscover' himself.  The chapter mentions  the efforts of
some of the scholars of Nigeria .who have been eye-openers
In this sphere.  Dr. S.O. Biobaku  Is said  to have helped Jn
co-ordinating  the efforts of  those working  In the field of
Nigerian culture.  Ulli  Beler has also helped  to get
Intellectuals  Informed about Yoruba art.  Dr. K.O. Dike,
for example,  pleaded  for the preservation of traditional  art
and symbols  at the Africanists Congress at Accra  In 1962.

In Chapter  XVII, the  idea of  'Imagery' regarded as

Christian  Is discussed.  His analysis.of why  the Yoruba
converts  looked upon  the garb  in which the gospel was
presented  to them from  Europe as "the church art" Is
worthy of note.  Surely, this  is the major  factor  In the
artistic  taste of most African  Church men.

Even  In Ekltl, Christ and-Mary  have been  represented
In an art  tradition  recognized  as Christian  - an  'archtype
the  long gown with  'girdle and  perhaps a*cloth -  (veil for
Mary),  Other  figures could  be represented  in traditional
Yoruba style.  Incidentally, Carrol  hints that  long hair  Is
not worn  by either men or women  In the area and this should
normally make the form strange  to those not accustomed  to
the  'long haired  Christ1.

One of  the causes of narrowness  is  Isolated  by Carrol.
He points to the  lack of understanding  of even  'Christian art1

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A

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87.

by foreign evangelists, who pass on their narrowness to
African converts and evangelists.  The scope of sculpture
Is large.  Apart  from statues, and doors, he says other
church  furniture could  be carved, or carvings shown,on
them.  Going by canons of orthodox Christian  Imagery some
of  the carvings of  Paul Osagte and Otooru are judged  to be
rather  'pagan1 and  so  'sacrilegious' and unacceptable.

The writer shows that he  is aware of the dangers in

the experiment.  For example he says on Page  158, that
'An over-emphasis on, and an  isolation of  personalities
in Christian  iconography can expose the poorly  instructed
Catholics  to the danger of a type of orlsa worship1.
Although, as he also says, that could not be strictly call-
ed  idolatory he nevertheless admits  that  it  is inadmissible.
Probably,, some ecclesiastics may  like to disagree with him.
Examples of syncretized Christian and pagan  liturgies  In
Haiti, Cuba and Brazil  are quoted.  There  is the danger of
religious stavfsm.  Hence the author acknowledges what
through his background, he regards as  legitimate fashions
or styles  In Catholic art.  (e.g. Statues of  'our lady of
Lourdes, or  Fatlma1),  However, he still  feels that other
biblical  figures - could be more meaningfully  depicted  to
the people of  Eklti or Nigeria, for  that matter, through
the artistic  idiom of their culture.

He does not appear  to me a writer caught up  in a

romantic  fantacy.  He does not advocate a mere  iconography
of African art.  He does not say so, but his arguments
seem to bear  this out.

One other very general  view that  is held about African,

or so called  primitive sculpture,  is that,  it is all  symbolic,
and some even  think that no form of  Ifc is ever naturalistic.
Carrol'attacks  this view and draws attention  to the error  In
regarding all  Yoruba art as symbolic,  indeed, he swings almost
to one extreme side  In this argument.  He however, admits that
there  is, nonetheless, some symbolism  in Yoruba sculpture.
This may be a worthy hypothesis for anyone who  is  interested
in further  Investigation  in this field of study.

In this Chapter XVIII, Carrol assets that the  'Bible

Imagery'  In many ways  is close to  'African  imagery1, the
common  factor being  that meaning  Is dependent upon  the context.

It  Is a bold  stand  to take  in representing  on  the

screen  in the baptistery  of Paul's Church, both  pagan and
Christian  trad ft tons of art.  It can be  inferred  that
evidence  Is being marshalled  to prove  the  practicability
and  necessity  of using  traditional  arts  in the Christian
Church.

The  idea, as the facts  show,  Is to seize upon

elements  of  'good and  truth1  in the Yoruba  concept  of
beauty, for effective  Christian  evangelization.  There
is a desire  to secure  true and  inward conversation  and
it  is hoped  that  the use of elements  of  the culture would
act  as allies  in the exercise.

The arguments,  I think, are scholarly.  There  is

awareness  that the present  art on  the screen  In the
baptistery  of  St. Paul  may  not  be absolutely  satisfactory.
However,  it shows  the type of  thinking essential  in Nigeria,
for  the development  of church art, not excluding  poetry and
music.  In addition  to expressed  views of the Vatican  Council*s
constitution  of  the church, Father  Carrol's  book helps us
to know more about  the realIzation,  desire, and  stand of the
Catholic  Church  in this matter  of  the Christian  liturgical
arts  in Africa.

After  the survey documented  in Chapter  I - XVIII a
very crisp summary  is made under  the heading  'The Church
and African  Culture1.  Attention  is drawn  to Catholic
documents  and  pronouncements  on African  culture and  the
church, which  interested  readers may do well  to examine.

A word  about  the  pictures.  The  pictures are  good.

May  be, more colour  photos would  have been an asset  to the
explanations  he gives on colour  schemes of Yoruba art, but
the cost of  such addition may not justify  the meagre  Improve-
ment  that would have been  brought  by  them.

The notes  to plates are good  and  very helpful.  Father

Carrol's  book has many  implications.  It should  be able to
stimulate  Interest  In more and  further  scholastic  examination
of Yoruba art and African  art generally  In the context of
the Christian  liturgical  art.

89.

The style of  the book  is simple and  the points he

makes which can be regarded  as hypotheses for  further
examination of  the subject, stand out.

I cannot  help agreeing with William Fagg, who has

devoted a great  part of his  life  in studying African
ethnography, when  he admits  that the book comes to fill
an  important  gap  in every  1ibrary on  the study of Yoruba
culture, and  the Christian  liturgical  arts  in Africa.
It  Is the  type of book for Museums,  Institute of African
Studies, and Art departments  In schools and colleges; It
is a book which  private  Individuals  Interested  In African
visual  arts  should  profftably  own.