THE CONTRIBUTION OF INDIGENOUS
TECHNOLOGY TO BENIN ECONOMY
A CASE STUDY OF BRONZE CASTING
BY
OKUONGHAE OSAMUDIAMEN ANITA
MATRIC NO: 07/15/CA075
A PROJECT SUBMITTED TO THE DEPARTMENT OF HISTORY
AND INTERNATIONAL STUDIES, FACULTY OF ARTS,
UNIVERSITY OF ILORIN
IN PARTIAL FULFILLMENT OF THE REQUIREMENT FOR THE
AWARD OF THE BACHELOR OF ARTS (B.A HONS) DEGREE IN
HISTORY AND INTERNATIONAL STUDIES, UNIVERSITY OF ILORIN,
ILORIN, NIGERIA
MAY, 2011
CERTIFICATION
This project was read and approved as meeting the requirement for
the award of Bachelor of Arts degree in History and International Studies
of the Faculty of Arts, University of Ilorin.
____________________
________________
DR. R. E. OLAOYE
DATE
Project Supervisor
____________________
________________
DR. S. A. AGALINO
DATE
Head of Department
____________________
________________
EXTERNAL EXAMINER
DATE
ii
DEDICATION
This project is dedicated to the almighty God and to Mr. E. T.
Erimona for his support and encouragement towards my academics.
iii
ACKNOWLEDGMENT
First and foremost, for the successful completion of this work, I want
to acknowledge the Almighty God for giving me the strength and the will to
complete my course successfully.
My profound gratitude and sincere appreciation goes to my
supervisor Dr. R. E. Olaoye. His fatherly support and understanding during
this research work is highly commendable.
There is no expression that can fully show my love and appreciation
for my parents, Mr. Okuonghae Francis and Mrs. Efosa Okuonghae for
their parental love and care.
My appreciation also goes to my siblings Kate, Osarodion, Esohe,
Osasenaga my kid brother Israel and to my little niece Ogechi, I will
always love you all.
My special and unreserved appreciation goes to my big daddy, Dr
Samson
Uweni
whose
support
and
encouragement
cannot
be
undermined, may God reward you in hundred folds sir.
I also want to appreciation all my lecturers for the knowledge they
have impacted on me throughout my stay in the university. I want to
iv
particularly acknowledge my able level adviser Mr. Lemuel Odeh, Dr. P. F.
Adebayo, Dr. I. A. Jawando, Dr. S. A. Aghalino, Mrs. M. A. Y. Lewu, Mr.
Jide Ige. You have all been so nice and wonderful towards me throughout
my stay in the university. May God keep you all.
I also want to appreciate my team head, sister Bidemi and all my
team mate and also Pastor Ken and to all others too, numerous to
mention.
On the final note, my heartfelt gratitude goes out to all my friends,
Adijat, Femi, Shina, Ali, Toye, and Lawal and to all those who have
contributed to make my stay in this university interesting in one way or the
other, I appreciate you all.
v
TABLE OF CONTENTS
Pages
TITLE PAGE
i
CERTIFICATION
ii
DEDICATION
iii
ACKNOWLEDGMENT
iv
TABLE OF CONTENTS
vi
ABSTRACT
vii
CHAPTER ONE
1
1.1
INTRODUCTION
1
1.2
AIMS AND OBJECTIVE OF THE STUDY
3
1.3
SCOPE OF THE STUDY
4
1.4
SIGNIFICANCE OF THE STUDY
4
1.5
METHODOLOGY AND PROBLEMS
5
1.6
LITERATURE REVIEW
6
1. 7
NOTES AND REFERENCES
9
CHAPTER TWO - ORIGIN OF THE BENIN PEOPLE
11
2.1
HISTORICAL BACKGROUND OF THE BENIN PEOPLE
11
2.2
GEOGRAPHICAL LOCATION
16
vi
2.3
BENIN AND THE EUROPEANS
20
CHAPTER THREE - BRONZE CASTING
25
3.1
ORIGIN OF BRONZE CASTING
25
3.2
THE TECHNIQUE OF BRONZE CASTING
30
3.3
THE GUILD SYSTEM
34
CHAPTER FOUR
42
4.0
THE CONTRIBUTION OF BRONZE CASTING TO BENIN
42
CONCLUSIONS
51
NOTES AND REFERENCES
55
BIBLIOGRAPHY
56
vii
ABSTRACT
Bronze casting is an aspect of visual arts which has played a
significance role in Benin culture. The trade between Benin and European
enhanced the production of bronze casting in Benin. Today Benin bronze
casting has attained a high level of artistic importance in Nigeria.
viii
CHAPTER ONE
1.1
INTRODUCTION
This essay examines the contribution of indigenous technology to
Benin economy. Essentially, this study will be based on the origin of
bronze casting in Benin and its contribution to the economy. Benin, which
was one of the most powerful Kingdom in West Africa before the coming
of the European is gifted with rich cultural and traditional art works. It
flourished as a city state from the 13th century until the British punitive
expenditure of 1897 which saw the looting of Benin art works in it’s
multitude to Europe and other parts of the world. Bronze casting in Benin
staffed to take its full shape in 1280 A.D during the reign of Oba Oguola.
Benin is said to have derived it’s arts of bronze casting from Ife in the 14th
Century. This statement leads us to Igueghae story; as the bronze caster
who went to learn this art of casting in Ife. However, the lost wax (cire
perdue) method of bronze casting had been known earlier in Benin and
the works from Benin were more stylized than that of Ife.
Bronze was already a universal value and enjoyed great
respectability among all groups, all people, in all cultures in Benin kingdom
1
before bronze casting actually became one of the professionalized royal
crafts in Benin Kingdom. Bronze was always a royal ornament for power,
splendour, for adornment and was so valued that even the image of the
Oba, both past and present could proudly be represented in it. In Benin
nation, Bronze was generally regarded as precious and because it was
precious, it was considered incorruptible. It could neither rust nor rot.
In Benin-city, the bronze sculptors were mainly for the sovereign
(the palace). The palace was the Chief patron of the group, reciprocally,
the palace paid in kind to the group members that were involved in bronze
casting and paid also for services including technical expertise. The
craftsmen also received protection as a monopoly of the craft. The plague
represented scenes from the life of the Benin Peasant, warriors, musicians
and also important events that took place in the palace. In pre-colonial
time, was implements, household utensils were made of brass. Those
bronze casters just like other guild system in Benin had a specific area
where they are settled and they had their own guild name in which they
are known. They are organized on a family basis and a non-family
member cannot be a member of the guild. This guild quarter of bronze
2
casters is still in existence in Igun Street present day in Benin. It is referred
to as the “Home of Bronze”.
1.2
AIMS AND OBJECTIVES OF THE STUDY
This study on “the contribution of Indigenous techno1og to Benin
economy, a case study of Bronze Casting will focus on the Benin Bronze
Casting. In other words, this study is an attempt to give a comprehensive
understanding of the artistic excellence of the Benin bronze casting and its
stylistic differences from other craft-tradition of Africa.
The researcher’s purpose is to show ho much we really know about
ancient Benin and thereby take stock of our present knowledge providing
a firmer basis for future research on bronze casting to Nigeria and even
the world culture development.
Bearing in mind that the art of bronze casting was and is still a family
affair, it is of advantage to study the traditional local technique and find the
possible ways of improving this craft. It is through a research of this nature
that this objective can be achieved.
This project is also aimed at how the craft of bronze casting in the
olden- days have been utilized on various aspect of craft production by the
3
people of Benin and their own unique style and how bronze was used to
document events in the preliterate Benin economy.
1.3
SCOPE OF THE STUDY
The scope of this study will cover the origin of Bronze casting in
Benin, so also this study will be based on the influence of bronze casting
on the society, the traditional arts and culture, the economy and its relation
with other communities.
This research work is divided into four chapters, the introductory part
of the essay under which we have purpose, scope, and significance of the
study, methodology, limitation and literature review. Also, we have in
chapter two, the geographical and historical background of Benin. The
third chapter explains the origin of bronze casting in Benin, the guild
system and essentially the technique of bronze casting (how bronze is
being cast). The fourth analyses the contribution of bronze casting on the
society in the area of social, economic and political impact, while the last
chapter is the conclusion and recommendation of the work.
1.4
SIGNIFICANCE OF THE STUDY
This research work will create the opportunity of understanding the
origin of bronze casting in Benin, how the bronze in Benin is being cast,
4
how the different guilds in Benin were organized and essentially gives us
insight as to how bronze casting has contributed to the economy of Benin
and to the society at large both in the pre-historic times and in our
contemporary time.
1.5
METHODOLOGY AND PROBLEMS
Different research methods will he adopted in collecting the data for
the work, but a great deal of this work will rely on oral information which
will be conducted in Igun Street (Benin City).
Written sources were also consulted both the primary and
secondary sources used included published books, published articles
which are related to this topic or discussion.
The library and archival also served as an effective indicator of other
sources and that is complied with photographic analysis which made the
work more relevant.
The process of data collection began Edo State archival, where few
related materials on the subject matter was found. This necessitated the
researcher to go to other libraries for more materials. As a result of this,
the researcher visited Edo State library for more materials.
5
Also, Oral Interviews with prominent casters and the people of Edo
State was conducted. They include Mr. Ehimona, Senior lecturer and
deputy dean in the department of Fine Arts in the University of Benin. Mr.
Sunday Ihama a bronze caster who had worked for over 10 years as a
caster in Igun Street, Mr. Moses lgbmosun was also interviewed. All of
these people supplied the researcher with facts and clues on the subject
matter of this research work.
The researcher equally explored the Edo State national museum for
some data collection.
1.6
LITERATURE REVIEW
Many research works were consulted. This included articles,
journals and magazines. For most among the works used for this
dissertation was Aghama Omoruyi (1986) “Benin Series, a new dimension
in Benin Studies” gave a brief history on Benin and their arts .and crafts.
He emphasized the importance of Bronze casting in Benin, its origin and
influences.
Another important text is the work of John O. Igbinokpogie “The
Benin Kingdom historical and environmental perspectives which he
6
reveals the Benin people and their environment. Through this work, one is
able to view the Benin people, their environment and culture.
In
his
contribution,
Philip
Aigbana
Igbafe
“Benin
under
Administration”, he explained vividly the indigenous background of Benin,
he also shed light on how the guild system is organized and the origin of
Bronze casting in Benin. According to him, members of guild are divided
into three age grade for effective administration.
Also, R. E. Bradbury also (1973) “Benin Studies” deals extensively
with the Benin Bronze casting, the Ikegbo and the Benin Cult of the hand,
he wrote that the Benin plagues and other bronzes were intended to
convey some information about specific events or particular persons. He
also stated that bronzes contain much potentially valuable information
about Benin Society, culture and history.
According to Jacob Eghareveba (1968) in his book, “A. short history
of Benin”. He helps to shed light on the foundation of Benin Empire, the
reign of various kings in Benin. This helped in the historical background of
Benin as a reference to this work.
In his work, Prince Eva Basirai Eweka “The Benin Monarchy, Origin
and Development”, he gave a vivid account on the Benin People and their
7
culture. This helped to know the role of the Oba in the Benin Political
system.
Also Nkata and E. N. Arinze, (1989) “The lost treasures of Ancient
Benin”. Also he gave an account on the punitive expenditure f 1897 which
saw the looting of Benin Arts in its multitude to Europe and other parts of
the world. This helped in the introductory part of this work.
Aghama Omoruyi “Benin Anthropology” also gave a comprehensive
analysis more on the historical background of Bronze casting. The book
helped in understanding the origin of Bronze casting in Benin and how the
guild system was organized.
Furthermore, A.F.C Ryder (1969) “Benin and the Europeans” stated
how the Portuguese traded with the Binis and imported Brass as an object
of exchange, according to him, the increase use of Brass may have
influenced the production of Bronze casting in Benin at a time when the
mental would have become available in quantity sufficient to permit
experimentation and continuous production.
8
1.7
A.F.C. Ryder
NOTES AND REFERENCES
Benin and the Europeans 1485-1897 (1969)
Pages 24-40.
Nkata and E.N. Arinze
The Lost Treasures of Benin (1989) Pages
7-12.
Aghama Omoruyi
Benin Series, A new dimension in Benin
studies. (1986) Volume No 3 Pages 11-18,
48-52.
John. O Igbinokpogie
The
Benin
Kingdom
Historical
and
Environmental Perspectives (1997) Pages
1-10.
Philip Aigbama Igbafe
Benin under British Administration (1979).
R. E. Bradbury
Benin Studies (1973) Pages 253-262
Jacob Eghareveba
A Short History of Benin (1968) Pages 1-48.
Aghama Omoruyi
Benin Anthropology (1981) Pages 1-19.
Ena Basimi Eweka
The
Benin
Monarchy,
Development, Pages 1-25.
9
Origin
and
ORAL INTERVIEWS
NAME OF
AGE
OCCUPATION
INTERVIEWEE
Moses Igbinosun
32
Bronze caster
PLACE OF
DATE OF
INTERVIEW
INTERVIEW
No.39, Igun
15th
street , off
2010
September,
Sakpoba Road
Ogbemudia Eric
50
Sculptor
and
Bronze caster
Ogbemudia Art
18th
Gallery, No.2,
2010
September,
Igun street
Ihama Igunma
64
Bronze caster
24, Igun street,
17th
off Sakpoba
2010
September,
Road, Benincity
Elvis Igbinosun
35
Sculptor
and
Bronze caster
No.31, Igun
5th October, 2010
Street, Off,
Sakpoba road
Obazee Iyamu
47
Bronze caster
11, Igun street
8th October, 2010
Ihama E. James
59
Bronze caster
No.15, Igun
12th October, 2010
street
Edwin Aisien
49
Bronze caster
No.10, Igun
14th October, 2010
Street, Benincity
Dr. Ehrimona
56
Department of fine
No.1, Wire
Art, University of
Road, Benin-
Benin
city
10
3rd October, 2010
CHAPTER TWO
ORIGIN OF THE BENIN PEOPLE
2.1
HISTORICAL BACKGROUND OF THE BENIN PEOPLE
Historically, the origin of Benin has been a subject of argument by
many scholars and commentators of Benin history about the general origin
of the people. There are divergent views on this issue. In discussing the
historical origin of Benin, There are four accounts about the origin of Benin
and they are:
1. The hamitic hypothesis
2. The tradition of migration
3. The tradition of original settlers
4. The snail shell hypothesis (oral tradition)
The first account on the origin of Benin is the Hamitic Hypothesis.
This theory was propounded by Charles G.Seligman in his book, “The
races of Africa “ published in the year 1930, attempt to describe Africans
initiatives and contribution to human or world civilization are the handiwork
of the Harmites who are believed to be the Caucasian race. This
hypothesis offers an explanation, for the conquest of Benin by some
11
foreign invaders who imposed their idea of state formation. These
invaders are claimed in colonial historiography to have migrated in waves
after waves from the North and overran the original sellers to establish
new states and societies. A study of the dynasty will help to debunk the
Harmitic hypothesis as far pre-colonial Benin history is concerned. The
point that needs to be made here is that the Ogiso dynasty was a product
of autonomous Benin people and not the Harmites as purported by the
hermitic hypothesis.The dynasty has flourished centuries before Benin had
her first contact with the entire white race. Furthermore, the Ogiso dynasty
was not just a dynasty, but it was all about state formation and civilization
by the Benin. Against this background, it is of the view that the history of
pre-colonial Benin has given a ‘knockout” blow to the hamitic hypothesis.
Second account on the origin of Benin is the tradition of migration
theory, this theory was propounded by a Benin local historian Chief J. U.
Egharevba. According to him;
Many years ago, the Benin came all the way from Egypt to found a
more secure shelter in this part of the world after a short stay in the
Sudan and Ile-Ife, which the Benin people called Uhe, before
coming here, a band of hunters were sent from Ife to inspect the
12
land and the report furnished was favourable. Tradition says that
they met some people in the land before their arrival, these people
are said to have come originally from Nupe and Sudan in waves.
This claim has caused a lot of arguments, Egharevba’s trace of the
origin of Benin to Egypt cannot stand the “acid test” of historical scrutiny
and analysis, for one thing Egharevba’s proposition gives credence to the
harmatic hypothesis which has it that everything of significance that took
place in Africa south of the Sahara was brought about by the harmits
(whites). This ascribes Africa pre-colonial achievement to the handiwork of
white skinned invaders who were supposedly of the Caucasian stock. This
however means that Benin civilization must have come from Egypt, for
another thing, the people of Benin do not have any theory of tradition of
migration from Egypt.
In addition to the points above Benin has been in existence for a
long time before the establishments of the Ile-Ife by Oduduwa and what
this point implies is that the founder of Benin whom Egharevba claims
migrated from Egypt could not have sojourned in Ile-Ife on their way to
Benin. Moreover the Egyptians culture is significantly absent from the
benin culture, in terms of social and political culture. Take for example, the
13
Egyptian writing culture known as Hierogyphics writing was purely absent
from Benin. It is also important to stress that egharevba’s claims that the
Benin’s migrated from Egypt may contain an element of validity. It is
however true that there were people who moved into the forest region
from the northern fringes of West Africa as a result of the desertification of
the Sahara. It is possible tat some of these people may have found their
ways into the Benin territory. The weakness of Egharevba’s theory or
argument lies in his insistence that the Benin’s came from Egypt.
Another account on the origin of Benin kingdom is the tradition of
original settlers, this is an attempt by the Benin people to claim ownership
of the territory which they inhabit because they maintained that they have
been there from the very beginning of the world. They are called “The
children of the soil”. In most cases they trace their location to an area in
Benin called “Ivbiotor”. Some other areas in Benin where we have the
original inhabitants is upper Sakpoba area and one of such is known as
“Igodomigodo” close to Ugbekun.
The fourth and final account about the historical background of
Benin is anchored on Benin myth (oral tradition) this is known as the snail
shell hypothesis. According to Benin mythology Benin kingdom was
14
founded by the youngest son of “Osanobua” (the high God) with his elder
brothers who included the King of Ife and other Yoruba kingdom and the
first kings of “the Europeans”. They were sent to live in the world. Each
was allowed to take something with him, while the others chose wealth,
material and magical skills or implements the youngest son who eventually
had to leave the heavens with his elder brothers have nothing left for him;
he decided to leave with a snail shell in his hand, on reaching the earth,
they found out it was covered with water and they hovered from place to
place, but with the instruction of a mythical bird, the youngest son was told
to upturn the snail shell in his hand and when he did, sand fell out from it
and spread out to form land. So the youngest son of (Osanobua) the most
high God became the owner of the land in the world and also became the
first king of Benin, his elder brothers had to come and barter their
possessions in return for a place to settle, hence, though he was the
youngest, he became the wealthiest and the most powerful. It is believed
that the first semi mythical ruler of pre-colonial Benin during the first
dynasty which was known as the Ogiso dynasty (meaning king or ruler
from the sky) was the youngest son of the most high God (Osanobua).
Although, not much is known of them, some have been mentioned in
15
Benin folktales and fables. Tradition has it that the first Ogiso is Igodo from
whom the kingdom first derived its name ‘Igodo at Ugbekun and the last
was Owodu.
This chapter has established that the origin of Benin has caused a
series of arguments among writers and commentators of Benin history.
The four different accounts on the origin of Benin were examined in details
one after the other. Suffice it to say that it is not surprising to say that the
origin of Benin has been involved in these series of arguments. This is
always the case with virtually every African pre-colonial society especially
when we rely on oral tradition as our source. To reconcile the three
different accounts, it will be safe to conclude that Benin does not have a
single tradition of origin.
2.2
GEOGRAPHICAL LOCATION
Benin, the capital of old Benin kingdom is located in a high tropical
rain forest 80 miles west of river Niger. Benin kingdom was one of most
famous kingdom in the forest region of West Africa and has one of the
most powerful political systems in Africa.
Scholars and writers alike have showed interest in the history of
Benin particularly its contribution to world civilization, however the quest
16
for historical knowledge of Benin past remains fascinating because of all
the pre-colonial African state, Benin is the most mentioned in
contemporary European literature.
Geographically, pre-colonial Benin kingdom was located in the forest
region of what is now modern Nigeria in west Africa sub region. It is
primarily a rain forest zone of a low lying plain covered with porous,
reddish and often plastic sand termed “Benin sand” the area is drained by
a series of deeply entrenched river and small streams flowing in a general
north south direction. The major rivers are Siluko, Orhinwon, Osse, Ikpoba
and Ovia. There are a few hills to the east. Benin has a tropical climate
characterized by two distinct seasons i.e. the wet and the dry seasons.
The kingdom was not a single administrative unit and its boundaries
is co-terminus with the present Oredo, Ovia Northeast, Ovia- Southwest,
Uhunwondo, Orhionmwan and Ikpoba Okha local government areas of
Edo state. Presently, these local government areas comprise of 47 wards.
At the height of its power, the influence of Benin is recorded to have
extended westward along the coast of Eko which is present day Lagos
and beyond westward to Ekiti which marked the boundary between Benin
and the old Oyo Empire eastward to river Niger and some Igbo area, and
17
southward to the Atlantics Ocean. The area was a much large entity
encompassing different peoples and different ethnic groups which were
brought together by various means including wars in order to acknowledge
the authority of the Oba.
The Benin people form the core of the Benin kingdom which at the
height of its power embraced other Edo speaking groups from Esan
Etsako, Owan and Akoko Edo to the North east and then Urhobo and
Isoko to the South East. They are called the Edo speaking people
because their language sprang from the same source. They are believed
to have spoken the same language and that the variations came through
migration, wars and linguistic interference. This Edo speaking group of
people covers an area extending from the broken, hilly country that
borders the Igbirra and igala in the North, to the edge of the coastal
swamp forest in the south where their neighbours are the iJos and the
Itsekiri, their other boundaries are with the Yorubas to the west and the
Igbos to the east for upwards of three millennium people speaking variety
of Edo (Benin) language have occupied an area some thirty one thousand
square kilometer (31000 sq km) that is about twelve thousand square
miles (12,00 sq m)
18
It is however important to note that it was not the Europeans
(Portuguese) that gave the name Benin or Ubini to the people of the land,
Ubini was the name of the territory which had several villages, settlement
of people speaking the same Benin or Edo language from the 15th century
when Benin first had contact with the Europeans for the first time, because
of the fame and influence of the kingdom, the name “Beny” was given to
the territory and its capital began to appear in the report of the Portuguese
traders and explores.
However, it is important to point out that the territorial boundary or
influence of Benin was not static, but rather dynamic, this is why Bradbury
states that a the history of Benin is one of alternating periods of territory
expansion and concentration in accordance with the degree of power and
authority in the centre.
The Natural vegetation of Benin area is high tropical rain forest
consisting of high canopy trees such as Iroko (Uloko) and Obeche
(Ovbekhue”) which today are felled for timber, with an annual rain fall of
over 1400mm distributed almost throughout the month of the year,. The
environment is condusive for Agriculture.
19
2.3
BENIN AND THE EUROPEANS
The Portuguese were the first Europeans to make a visit to Benin in
1472, they succeeded in establishing among other things trade and
diplomatic relations in Benin in 1484 during the reign of Oba Ozolua.
The presence of the Portuguese, marked a new phase in the
development of benin art with the availability of adequate raw materials,
bronze casters were able to produce heavy objects like wall plaque and
heavier ancestral heads to carry the elephant tusks that were kept in
Benin shrines, Portuguese representation in Benin art showed Portuguese
influence in the art of Benin and the ingenuity with which Benin artists
were able to capture and record the presence of foreigners in their midst,
from the art of Benin, it would be seen that the Portuguese participated in
the military activities of the Benin army and most probably in other court
activities. since the period of Portuguese contact with Benin, before the
19th century, there had been a mutual trade relation between the both
parties.
Benin contact with the Portuguese no doubt, brought a new lift to
Benin art. In exchange for ivory and other items, the Portuguese brought
in coral beads and enough raw materials for bronze castings. The
20
Portuguese arrival coincided with the period when Benin power was at its
peak, their coming was said to have acted as a catalyst, leading to a
period when the finest of all the many works of Benin art were produced.
During this period the fame of Benin art perhaps rested with the great work
of bronze casting, which the Portuguese must have done so much to
stimulate by providing quantities of brass for the Benin artists. It is also
evident, judging by the few pieces of ivory of great beauty and skill which
survived at this period.
From the following, it would them be reasonable to state that, :no
doubt the Benin contact with the Portuguese brought in a change in the
traditional stream of Benin culture” and still furthermore, the remarkable
impact of the Benin contact with the Europeans would not only be seen
from the changes in the Benin art and culture due to adequate supplies of
brass, but that this changes also revolutionized the nature of Benin
warfare as cannons were now produced from brass which eventually
become weapons of war. This development was attributed to the reign of
Oba Esigie’s army, in its campaign against the Atah of Idah.
Looking at Benin art from the reflection of this impact, one can only
conclude that it must have been considerable, for a number of forms
21
resulting from the Portuguese influence are manifested both in bronzes
and ivories. The Portuguese during this early contact with the Benin also
brought with them some elements of oriental art, which they derived from
Indian china and even Japan. A good deal of ecclesiastical embroidery for
instance was done in China and Japan via the Portuguese, in their trade
relation with Benin introduced the manilas to serve as currency for
exchange of goods and commodities, but these manila’s eventually gave
boost to art in Benin as they could be melted down to casting.
The Portuguese also had an impact on the traditional art of Benin,
coming from across the sea bringing with them wealth and luxury items,
the Portuguese were readily incorporated into the complexities of ideas
associate with the god Olokun( ruler of the sea and provider of wealth)
cast or carved images of the Portuguese sailors in 16th centuries attire
appeared in a wide variety of objects on the bracelets, plagues, bells,
pendants, tusks, masks and so on. The image of the Portuguese became
an integral part of a visual vocabulary of power and wealth.
The appearance of the Dutch in Benin also brought a new
development to art forms in Benin. The Dutch imported cowries in great
quantities into Benin to serve the purpose of traditional currency but these
22
cowries ended up being used as decoration as the literally covered the
walls of the rich, Oba Akenzua I is said to have constructed a “house of
money” and this apparently was emulated, perhaps in a modified form, by
the Ezomo, for when the French trader Landolphe visited Benin in 1787,
he met the then Ezomo in “a large and beautiful room elegantly embedded
with small Indian shells, traces of this decorative practice can still be seen
in Benin today.
The Dutch in their addition to cowries importation, also brought with
them a variety of cloth including damask, French sulk and linen, and a vast
number of copper and brass “neptune’s or pans were also imported. A
portion of these materials were melted down to cast a numerous brass
objects said to date from that time.
23
NOTES AND REFERENCES
1.
R. E. Bradbury:
Benin studies, London, Oxford Universities press,
1973, P.46
2.
Festus Nosa Ogbonwan: Early Catholic Missionary Activities in
Benin-city Josemaria print, 2005, pp.1-3
3.
Note by Dr. Benson O. Osadolor: dated 6th March, 2008
4.
A. F. C. Ryder:
Benin and the Europeans 1485-1897, London,
Longman, 1977 pg.1-4
5.
Bradbury: Benin studies pp.47-48
6.
Charles G. Seligman:
The Races of Africa, London, Oxford
Universities press, 1930, pp.5-10
7.
J. U. Egharevba: A short history of Benin, Ibadan, Ibadan University
press, 1960 pg.1
8.
Ibid, p.2
9.
Ibid
10.
A.F.C. Ryder: Benin and the Europeans 1485-1897, University of
Ibadan press 1969.
11.
Aghama Omoruyi: Benin Anthropology, Cultural publication new
Benin, Benin-city, 1981, pp.15-16
12.
Ibid, pp.4-10
24
CHAPTER THREE
BRONZE CASTING
3.1
ORIGIN OF BRONZE CASTING
The origin of bronze casting in Benin has provoked many debates,
Europeans initially believes that lost wax casting was introduced by nonAfricans, following an argument that the technology involved was too
sophisticated to be of African origin (Grahmer 1909) others appreciated
Benin bronzes from the beginning as products of truly African tradition.
So also there are speculations that it was brought from Sudan or
Egypt, although in the migration theory of Benin, J. U. Egharevba traced
the origin of Benin to Egypt and this will give credence to the Harmatic
hypothesis which state that everything of significance that took place in
Africa South of the Sahara was brought by the harmits, which therefore
mean that Benin bronze casting must have originated from Egypt. But the
point must be made that Benin bronze casting may be similar to that of
Egypt because of the fact that both of them are made with the same
method or process which is cire perdue or lost wax.
25
Another popular view by j. U. Egharevba was that bronze casting
was introduced from Ife during the reign of Oba oguola. He pointed out
that Oba oguola was anxious to introduce bronze casting in an immitation
bid to produce work of arts, similar to those of Ife, he therefore sent to the
Oni of Ife for a brass smith and Igueghea was sent to him with this
tradition Igueghea and his descendant formed the nucleus of the guild of
bronze casters at the end of the fourteenth century.
Another basis for the arguments of introduction of brass casting from
Ife was the presumed stylestic similarity of early Benin bronze heads with
naturalistic heads from Ife. In Benin today, however, this explanation is
rejected and the view prevails that bronze casting could not have been
introduced from Ife since there is today no trace of bronze casting as a
court or communal enterprise in Ife, nor was there any quarter dedicated
for the production of the art as practiced in the Kingdom of Benin.
This transaction of origin of bronze casting in Benin raises the
question about Benin-Ife relationship which some historian have attempted
to address, which now led to a lot of questions according to Prof. P. A.
Igbafe, some of such questions are as follows; Was Igueghea a Yoruba
bronze caster? Was he a Benin bronze caster resident in Yoruba land who
26
ultimately was sent to Benin? Why has the art of bronze casting not
continued in Ife as it has in Benin?. In an attempt to seek answers to these
questions, it is important to examine the Benin Ife relationship. This
relationship can be traced to the origin of Eweka dynasty for it has been
an argument for historians of both Benin and Yoruba history. Some writer
claims that the new dynasty was a continuation of the Ogiso dynasty
through the ekaladeran link whose life was spared by the executioner and
therefore permanently migrated from Benin. He first established Ughoton
and relocated Southwest ward in what is now known as Ile-Ife. He was
accepted as the King of the people and took the title “Oduduwa”. There
are different interpretational and misinterpretation of the facts of Benin Ife
relationship. Some writers dismissed the Benin version as myth or legend
not backed by historical facts and accepted the Ife version as the authentic
side of the story. The emergence of Oduduwa in Yoruba traditions referred
to two major events, one was that Oduduwa and his party migrated from
the East or that he came down from heaven with a chain.
Geographically speaking, the east of Ile-Ife is the Benin area and
therefore, the benin version is an attempt to fill in the missing gap in Ile-ife
tradition concerning the coming of Oduduwa. Prof. Ade Obayemi argues
27
that East of Ife may not be Benin but rather Niger Benue conflict that
linked Ife with Nupe. This is supported by Samuel Johnson in his classic
book “a history of the Yoruba’s His view denies the fact that Oduduwa
migrated from Benin but that the fugitive prince Ekaladeran of Benin
established the Ife dynasty of Oduduwa. This assertion by the Yoruba’s
that Benin migrated from Ife brings us to the traditional origin of bronze
casting in Benin which some historians have addressed their minds to.
Despite, this assertion by Jacob Eghareoba, Prof. Igbafe a renowned
Benin historian is of the view that, Igueghea is a Benin name and could
not obviously have been sent from Ife to Benin, only on the ground that he
had initially migrated to Ife. It is of great possibility that Igueghea went to
Ife to learn the art and later returned to Benin to establish as bronze caster
or he may possibly be the first man in Benin to be established as bronze
caster and has now been deified by the people as a result. There is still
the possibility that he was among the servants that went with Oduduwa
(Ekaladeran) the banished prince of Benin to Ife. This is based on the fact
that according to Benin tradition the prince was supposed to be buried
along side some servant slaves or palace attendances.
28
Furthermore, another bronze caster asserted that the origin of Benin
bronze casting is as old as man himself. He sai;d that during the reig;n of
the Ogiso’s there was already an animation in bronze, it was a piece of
decoration in bangles although there were not known because of improper
records, it is in view of this point that Benin bronze casting is indigenous to
the people of Benin in the sense that it gives a ‘knock out blow to
Egharevba’s view.
Archeological excavation by Graham Connah (1989) points to the
use of copper and its alloys in Benin as early as the thirteenth century.
(But Connah presumed that the bracelets and penaular bronze rings he
found were produced by forging rather than brass-casting). Garragard
(1983) questioned this suggestion by referring to the technique of
producing such type of bracelet with the lost wax method. Rather, he
suggested that Benin may have produce simple casting in the thirteenth
century which will conform to oral tradition claiming that there is an
autonomous tradition of brass casting in Benin going back to Ogiso times.
(Frank Willett, 1967) saw a marked stylistic difference between Benin art
work and those from Ife and assumes that they might have been
exchange and influenced in both directions. Ekpo Eyo (1977) argues that
29
the exchange of objects between Ife and Benin did not necessarily imply
derivation but rather reflects contacts.
All these may suggest independent origin at the centres of Ife and
Benin-city.
3.2
THE TECHNIQUE OF BRONZE CASTING
The method of casting is known as cire perdue method or the lost
wax method. Bronze is a copper tin lesser amount may be zinc. Bronze
could also be a copper base alloy containing one of several metals other
than tin or zinc as major alloying element. The cire predue involved the
following method or processes. First is mould in ‘Red Earth” also known as
“core” or popularly called “mud sand” into desired shape. Then the
envisage object is allowed to dry, after drying it is waxed up using tin wax
to cover the body after waxing the core ornamentation are now put and is
covered up again with red earth. After which the runner and funnels are
fixed, the core is now banned with wire to resist shock when firing, as the
heat rises up to seven hundred degree centigrade (7000c), the wax of
course disintegrates into nothingness literally, evaporating into thin or thick
air; while this is progressing the bronze is being heated. At eight hundred
degree centigrade (8000c), it melts and the molten bronze is then poured
30
in to replace the absent wax through a funnel space created in the
moulding process, it is then allowed to cool down and there emerges the
precious objects, cleaning, filling, scraping, polishing and other finishing
completes the process after the clay that had fulfilled its part of the
creative process been dislodged.
The guild of brass casters ranks highest among the craft guilds,
depending on the size of the object the caster work individually or in a
group for small objects just one casting pot is needed on a fire to melt the
brass larger objects needs several casting pots or crucibles and therefore
more hands. During group casting, the different hereditary lines come
together if there is a large commission; the cousins of the Igun Eronmwon
divide the work into groups. All jobs at this time are supervised by the
Inneh of igun. The work is distributed according to order of seniority of
titles, the higher titles taking the bigger and more important jobs.
The members of the bronze casters guild are divided into three age
grades for effective administration. The lowest grade, the Iroghae groups
are young craftsmen aged between 12 and 30 years. The urhonigbe or
elders group is the middle grade, immediately below is the final grade the
Ekhaemwen Oba. They are very skilled and members of this group may
31
be appointed chiefs as the highest favour from the Oba in exchange for
their good services. The Ekhaemwen Oba are the only brass casting
Chiefs appointed by the Oba of Benin, chieftaincy titles in the guild are
either hereditary or held among family members in Igun Eronmwan titles
like the Olague are not tied to a particular family but any worthy son of the
guild whose services are satisfactory to the Oba may be appointed.
The people of Igun have their traditional values, will or rules and
regulations guiding the profession; one of such values is that up to the
present day and even with Christianity and civilization women are still not
allowed into the ‘Ogun Ogwa” the foundary where the production of bronze
casting takes place. They can purchase products for further marketing or
assist their spouses, parents and relations in the later stage of the creative
sojourn women presence at the foundry is a taboo kept over the centuries.
The rules is that children get initiated into the production process early in
life around the age of four (4), they are sent petty errands such as fetching
of clay for mould. As they grew older, they naturally grow into the
production system, it is natural and ritualistic. Thirdly, is that before one
can be taught the art of casting, he must be a member of the descendant
of Igun Eronwon that is to say he must be from the lineage. The Benin
32
bronze casters choses what God to worship, while some are Christians,
others adhere to traditional religion practices. All brass casters see
themselves closely linked as children of Igueghae, the first brass caster,
their leader he is his direct descendant and an altar at Igun Street is
devoted to him. According to the bronze casters, the Oba blessed the
guild”. There are other guilds like carpenters, ivory workers, mental
fabricators and so on. But they are extinct or the process of becoming
extinct, but bronze casting remains because it was blessed by the Oba.
Chief Inneh of Igun street is presently the head of the guild, while the Oba
of Benin is the patron and they, the descendant of Igueghea are closely
related to the Oba of Benin both biologically and in physical location, the
descendant of Igueghea had carried on the tradition of being court artists
for centuries, igun people led by their twelve (12) title chiefs at the head of
which is the “INNEH”, served as the camera that documented important
occasion as the court of the Oba. Benin bronze is a living culture and has
a deep historical and social value, which goes far beyond aesthetic and
monetary value, Benin art treasures were treated as little more than
curious during the 1900’s when they were first taken to Europe, but as
33
time went by the wonderful quality of bronze casting became highly
appreciated.
3.3
THE GUILD SYSTEM
The guild system actually began about the first century during the
reign of Ogiso Kings. It was initiated by Ogiso Ere, one of the successors
of Ogiso Igodo, the first in the Ogiso dynasty.in an effort to create an
economic reform,ogiso Ere embarked on the development of multiple
guilds. The guilds were artisan organization which started to operate with
royal patents in artisan life, in the various engagements that existed in the
village of Ubini land prior to the days of Igodomigodo and were both widely
distributed in Ubini Nowa and ubini Norria.
In the villages, they had iron makers, wood workers, potters,
weavers, hunters, leather workers and traders. All these artisans operate
in the local communities on a small scale. Ere had an experience working
with the craftsmen at Udo before his coronation may have influenced such
state craft to originate the set up of a technological guild with which Benin
had since won an enduring fame. He did not want to distance himself from
them after he became King, but to bring them together for royal and
national advantage, so he created artisans homes and group centres for
34
them, where they were to concentrate on turning out their products for the
Kings.
According to P. Barbara in her book (Benin Kings and Rituals) “The
guilds were set up to administer craftsmen who were initially scattered all
over the empire; organizing and locating them in quarters, it became easy
to protect their trade and services to the palace. It also helped to
guarantee good standards, in terms of leadership hierarchy was
introduced to supervise production. The name and function of some the
guilds organized by ogiso Ere include the folloings;
The Ileme (Uheme) metallurgist, these groups are the iron makers.
The first step taken by Ogiso Ere was the formation of iron workers into
group consciousness and organized iron materials products. It was on this
group that other artisan groups like the carvers, carpenters and hunters
relied on for their own tools. Ere sent the Abviogbe (messagers) to all
kindom to nominate iron makers to take advantage of the newly formed
royal service in the city. Ogiso Ere organized them in the Ubini Nowa
villages of Adaha, Eyaenugie, Ugboba, Igun Ekhua and Uselu, he then
placed them under his chosen guild leaders and the Odionwere of each
35
village. These villages were chosen because they showed abundance of
iron-ore deposits.
The wood workers: Ogiso Ere formed this guild because of the
availability of hard wood that was found in the area and was widely used
generally. Skilled in carving and carpentry developed from the hard wood,
this guild had the first major dependence on the iron products of the
metallurgist. The carvers known as Igbesanman guildsmen combined
developments in both wood and ivory carving, which was got from
elephant tusk. Ere established the guilds of elephant hunters from the
collection of elephant tusks, from the elephant hunters, leather materials
were derived for the production of leather works, the location of elephant
hunters was Oregbeni which presently is situated along Ikpoba hill road in
Benin.
Other guilds that were originated by Ere are the women guilds,
these include cotton work, trade pottery as well as bead making. The
guilds were not separately quartered, since the women had to live with
their families. Cotton work includes the spinning of yarn and the weaving
of cotton cloth in 100ms. The women shells, such as cowries and nuts for
36
the development of the stringing knitting skills required for the production
of decorative materials.
Despite the significant changes in the social, political and religious
terrain in the kingdom which was envisaged under the reign of Obas in the
new dynasty of Oranmiyan, the guild have shown remarkable resilience,
providing support and sustaining the palace, the entire Benin Kingdom and
the divine Oba. The palace sophisticated guild system largely supported
the elaborate and well organized kingdom of Benin. This encouraged
every reigning Oba of Benin to patronise and sustain the guilds as a
vehicle for promoting national progress, effective administration and
enhancing his majesty divine grace. The Oba created new guilds usually
by giving freedom to slaves who entered into such guilds. Emancipated
slaves could also be injected into such declining guild to swell their
numbers. The guilds were attached to the three palace societies of
Iwegwuae, Ibiwe and Iwegbo depending on the nature of their craft. Thus,
the weavers and cravers in wood and ivory were attached to the Iwebo
society, which was responsible for the Oba’s regalia.
The association of the Iwebo palace society also consisted of the
bronze casters (Igun Eronmwon) this guild is under the hereditary
37
leadership of the ine n’ Igun or Chief Ineh. They used the lost wax method
of bronze casting to produce the various bronze objects of arts. The
bronze casters, just like any other guild settled in specific quarters called
after their various guild names, for example the bronze casters reside
exclusively at Igun Eronmwon a name it still maintain till date. The Oba
supplied materials to the craftsmen, there were no formal or stipulated
payment to workers, rather workers were served food, kolanut and drinks,
the guild members were given royal support when it came to building their
own houses, opening their own workshops, and even setting up their
farms. Access to the apartments of these societies was confined to its
initiated members. The Oba was the only person who knew and freely
entered their entire set of apartments. The three palace societies were
institutions for recruiting and training personnel for specific palace
services. They ensured the loyalty of craftsmen and made the organization
of different ceremonies successful. In the guild specialized services, they
ensure that membership was not accessible to all. They kept the rule of
secrecy concerning their skill and tradition, limited the exposure of details
and forbade interference by non-members.It is important to bear in mind
38
that these craftsmen, though worked for the Oba, were allowed to produce
for their private sale.
The guild was considered an administrative council in pre-colonial
Benin because of its organized internal administration.The title holders in
the guild formed the guild’s council and were responsible for the internal
administration of the guild. The guild titles were acquired either by grants
from the Oba or by inheritance. According to Bradbury, “all craftsmen
made a practice of introducing their son’s to the work at an early age,
taking them to the palace to see how things were done.
39
NOTES AND REFERENCES
1.
J. C. Dark, Philips: Introduction to Benin Art and Technology London,
Oxford University Press 1973 pp.54-60.
2.
Ibid
3.
S. B. Omoregie:
Great Benin 3, The Age of Ogiso foundation (900-
1050AD), Neraso Publishers Limited, Benin 1997, p.61 and 62
4.
Ibid
5.
J. U. Egharevba:
A short history of Benin, Ibadan, Ibadan University
press, 1960, pp.11
6.
Ibid
7.
P. A. Igbafe:
8.
Ibid
9.
Samuel Johnson: A history of the Yoruba’s lagos, CMS bookshop,
“Benin in Pre-colonial Era”
1921,pp.15-20
10.
Interview with Mr. James:
E. Ihama, Bronze caster at no.10, Igun
Street, off Sakpuba road, Benin-city, Edo State, 5th of October, 2010. Age
56
11.
Ibid
12.
Ben Amos:
13.
Plakastein (ed.):
The art of Benin p.46
Benin Kings and Rituals, court arts from Nigeria
pg.103 and 117
14.
Igbafe:
Benin Under British Administration, p.9
40
15.
Ibid
16.
Plakastein (ed.):
Benin Kings and Rituals, court arts from Nigeria,
Snoeck publisher, the Art Institute of Chicago, 2007, pg.134 and 161
17.
Ibid p.63
18.
Igbafe:
Benin under British Administration, Longman press, London,
1979, pp.8 and 9
19.
ibid
41
CHAPTER FOUR
4.0
THE CONTRIBUTION OF BRONZE CASTING TO BENIN
Benin bronze work may actually have different significance to
different people for example; the historian may look at it differently from
the artist. Benin bronze potentially represent an object of ritual and
religious worship to the Binis, but for the historians and ethnographer they
are a valuable concrete expression of certain features of Benin culture and
society in the past while some, dramatized the idea relationship between
the Oba and his military, some others indicate the elaboration of rituals
and magical devices fro procuring success in war and the remarkable
degree of dependence upon medicines.
A common consensus among historians is that the art of Benin
served to narrate events and achievements actual or mythical, which
occurred in the past, it was grounded on traditional values and religious
beliefs and displayed icon-graphic affinities. Although, only made popular
after the punitive expenditure in the 19th century, Benin art has been in
existence since at least 500BCE. The bronzes were used to depict
religious, social and cultural issues that were central to their beliefs such
42
as ceremonial weapons, religions objects and masks. The culture of the
Benin people was that of religious sentiments which can be seen in a lot of
their art.
Benin bronze casting demonstrate the power of supremely well
organized forms produced not by responding to the sense of sight, but
also to the sense of imagination, emotion mystical and religious
experience. Benin bronze casters generally work as specialist, receiving
their training from established professionals living in the area where the
guild is located. Benin tradition practices, ceremonial customers and
worship are some major source of the people cultural treasure. The
cultural heritages of the Benin have produced some excellent specimens
of artistic work.
There are three ways by which the bronze form Benin can be
viewed, fist is that the art work was used to record events, secondly,
person from the royal family and thirdly was to decorate the palace of the
Oba of Benin and that of prominent Chiefs. The first was manifested
during the Idah war which culminated in the “Ugioro” festival which every
reigning Oba was to celebrate during the Igue festival which is done at the
end of every year.The second was the Queen Idia, the mother of Oba
43
Esigie, who was immortalized with famous Queen Idia head bronze of
fame.
Benin bronze work has fashioned its way in such a wonderful
dimension that those who tender to patronize the making of the art never
knew that they were working for all mankind, that what they produced
would one day be valued and be termed classical to be regarded as one of
the world’s most populous art work ever. The production of this bronze
was quite different from the carving in wood and ivory, bronze casting was
the area in which the Binis actually excelled and beat the imagination of all
when they had fully acquired this skill. When the early explorer came to
Benin that is the Portuguese, they met the existence of bronze casting in
the 15th century, when they arrived; the artists set to work to represent
their presence in whatever form they could portray them. In so doing a lot
of activities of the early Portuguese were recorded in bronze an art they
have mastered long before they arrived.
Benin bronze casting is unique to Benin traditional art, it is because
the simple fact that the production of these work of art is marvelous, when
one think of the period and traditional process of this casting, many
mistakes must have been made and the result, the fineness of some of
44
this piece is magnificent. The casters, the splendors of their art work and
the continuity are something that beats the imagination and its spreading
force leads one to believe that Benin is the cradle of Art.
Benin art is prolific, backed with history and the subjects so varied
that bronze caster said that there are two unique features in the history of
Benin bronze”. The choice of subject and the mode of expression
significantly, most of the works known today represent people and they
are heads of Oba’s, Queens, Chiefs or mask representing faces; these
are cast in bronze. Other items made were house hold utensils, stools,
seat which were made from wood and later made in bronze. Thus the art
treasure of Benin span over many centuries, patronized by the various
kings who happily embrace the guild. The sophistication and symbolism of
Benin bronze illustrate the monarchy’s ability at using the art as instrument
of the state. As the influence of the chiefs grew over the centuries the
office of the Oba became increasing ceremonial. As a result court ritual art
focused on what set the Oba apart from the chiefs, what is his ability to
claim divine origins. The aesthetics quality of the works couple with the
exquisite detail of them thrilled world curators and caused them to ask
many questions. The technical excellence also battles when the traditional
45
products comes to mind. These are some of the observation from the
moment when bronze had grown classical and international as antique
work of arts from Benin.
Despite the destruction a number of times by fire the royal palace
has always been considered the spiritual centre not only of the city but of
the entire kingdom. Exceptional bronze piece were kept in this palace for
use during rituals and ceremonies. Two major objects give an insight into
the magnificent architecture of the ancient palace. They were a bronze
box in the shape of one the royal buildings and a brass plaque sculptured
in bas relief, in all likelihood representing the veranda roof of one of the
palace courtyards. This kind of roof, which once hung over the King’s
ancestral shrine, is depicted with supporting columns guards and a couple
of leopards.One can conclude that columned galleries surrounded the
palace’s impluodium courtyard and that these galleries wooden columns
were at least until the 17th century, covered with glittering bronze relief
plaques. The variations in style observed on these plagues can be
explained by the fact that they were sculptured by different workshop and
in different eras. The people of Igun street led by their twelve titled chiefs
at the head of which is the Inneh of Benin kingdom, serve as the camera
46
that documented important occasions at the court of the Oba when such
an event is considered worthy of documentation they are them
commissioned to execute such project.
Economic calculation was the centre piece of the external relations
of Benin. Their political, diplomatic and cultural exchange between Benin
and their neighbors were mostly geared towards the promotion of
commerce, which in turn was used to enhance the empire military
machine and political influence. The wide spread boom in bronze casting
from Benin helped to increase commercial activities in the area. In precolonial era Benin in their search of legitimacy, the king of Benin strive to
strengthen their links with their Yoruba neighbors notably Akure, Ekiti,
Owo to the north Lagos and Dahomey to the west. The eighteenth century
witnessed the ties between the people of Owo and the Benin which was
as a result of vital economy and trade of the Benin’s and its hinterland.
This is based on the fact that Owo was a gateway to the western and
northern Yoruba land. The Benin sold goods or products through the
central side and in which the goods from these people gets into the forest
region of the south. They also traded with the east that is the people from
Igbo and Ibibio land. The items of trade were cotton, cloths, palm produce,
47
bronze work, ivory, pepper etc. economic activities in Benin helped to
increase the commercial status of the area. Bronze casting is capable of
becoming vast industry which can yield huge revenue for bronze casters.
Benin bronze sculpture was made in brass and yet this brass cannot
be made without copper, and there is no copper in southern Nigeria. So
the copper must have come in exchange for goods produced and sold by
the Benins. Benin main concern was foreign trade. this trade seems to
have consisted in buying of copper and other goods from western Sudan
in exchange for Benin cotton stuff and other goods. Other major items of
commerce between Benin and her neighbors were cloths, beads and
slaves which she exchanged with the Europeans at the coast. Guns and
ammunitions were used to further enhance Benin national interest, which
was mainly trade.
Benin art is however noted as an object or instrument in dating
events in the past which in the sense, could be regarded as objects of
commemoration for example the accurate representation of Portuguese
dress and weapons of the 15th and 16th century shows they had contact
with the Portuguese. Benin art is particularly emphatic on its culture and it
is this that the art portrays, since it provides us with information about the
48
type of weapons, dress or regular ornament and ritual apparatus etc. In
use at the time from the above one could draw a seeming conclusion that
the objects of Benin bronze, mainly holds both a religious and archival
values to the artists, the historians and ethnographers alike.
Benin bronze was produced mainly for the palace of the Oba and his
Chiefs. It was closely connected with the worship of ancestors. In the
house built were mud altars upon which heads and other objects of bronze
and elephant tusks were placed. This was called the ancestral altar which
was dedicated to the past Kings. The royal ancestral altar has been a
focus of artistic elaboration. Much of the sculptural forms that characterize
Benin arts were originally created to honour the royal ancestors of Benin.
After the death of an Oba, his successor would have an altar constructed
in a large rectangular structure and would then commission his carvers
and casters to prepare and works to commemorate his predecessor and to
enable the new Oba communicate with his ancestors.
The Oba palace was decorated with sculptured figures and heads
and plagues cast in bronze all having a direct symbolism to the Oba. The
wall plagues for instance, showed in relief scenes illustrating life in the
palace, musicians, hunters, warriors, animals and birds. But the central
49
figure in most of the plague is the Oba from the illustration above it would
be reasonable to add that the Benin bronze or art was generally meant to
immortalize the dead as well as for decoration purposes, which gives them
an aesthetic value. Majority of the arts in Benin were fully made to glorify
the divine king and to honour great kings of the past. Hence, it was said
that Benin art is a royal art; these arts were primarily made of brass and
ivory and also consists of coral beads. Bronze has a complex symbolic
meaning in Benin, as a material that never corrodes or rusts, it stands for
permanence and continuity of kingship. These brasses were used for
making art objects such as garments, bracelets, plagues, etc to serve a
specific purpose.
The bronze plagues were meant to serve as the photographic
representation of what happened in the past, particularly in the palace of
the oba. By extension, the bronze plagues serve a purpose of historical
record of past events and were also used as arts of beautification and
exhibition in museums.
50
CONCLUSIONS
Benin bronze works of art are better known than any other art works
in Nigeria probably because Benin is the foremost Nigeria city to first come
in contact with the outside world. The first contact was during the reign of
Oba Ewuare the great in 1472 A.D, as Ruy de Sequeira, was the head of
the Portuguese expedition. This first contact which was due to curiosity
about the kingdom and the people in the west coast of Africa was followed
by several subsequent visits by the Europeans to the empire, which
consolidates on the earlier contact. The effect of this contact cut across
the political, social and economic life of the people. Although, this was
highly of great benefits to the Benins as shown by the strengthened
popularity gained by the empire. This contact laid the foundation for the
gradual colonization and interference in the internal affairs of the people.
And the ultimate outcome of this was the Benin massacre and conquest
by the British in 1897, which came as a result of the murder of consult
Philips and his party at Ughoton. When he forcefully demanded an
audience with the Oba of Benin, Oba Ovoranmwen. There was the
impossibility of granting his request no matter the mighty empire he
claimed to represent. The Oba who was performing one of his most
51
sacred traditional rites during which he was not supposed to receive any
visitors instructed his messenger to fix another appointment date with
consul Philips but he refused by saying that her Britannic servant were not
to be denied audience. The consequences were the brutal murder of
consul Philips and his party. After the murder a punitive expenditure was
mounted on Benin.
Benin bronze were looted by the British in their thousands to Europe
and America. During this expenditure about two thousand (2,000) arts
objects were recorded to have been removed from the palace. These
objects includes the Oba’s primary symbol of power, the royal stool and
other works of art both those made of ivory, woods and bronze. This art
works that were looted are now on display in European and American
museum all over the world especially great Britain, America and Germany.
Bronze casting has influenced the whole western art since the turn
of the century a substantial amount of Benin bronze are still in Europe
awaiting to be returned. From all over the world arts hovers, historian’s
ethnologists, anthropologist and indeed all categories of tourist troupe to
Igun Street to behold the marvel of Benin bronze culture. As British raid
exposed Benin bronze to worldwide limelight things began to change.
52
Benin contacts with Europeans helped the city in so many ways for
instance, it enjoyed a steady and plentiful supply of raw materials from
Europe
which
stimulate
and
increase
the
quantity
as
well as
improvement in the quality of the art work.
Benin bronze casting appeared to be at their high point during the
sixteenth and seventeenth centuries. The bronze caster have been able to
produce modern designs which are among the products on display in
about a hundred (100) retail outlets and galleries that line Igun street. Next
to this modern designs are ancient images such as Ada and Eben which
are ceremonial swords, you will also find images of Jesus on the cross
and other artistic motif from other culture across the land and beyond.
Sometimes the bronze casters receive commission from other states to
cast art works for them.
However, as the tradition of the Oba as patron of the arts has
continued, in 1914 Oba Eweka II lifted the restrictions on the sales of
bronze work to royalty alone. Patronage today has grown beyond the
traditional court collection circle, from all over the world people come to
acquire Benin bronze.Apart from direct collectors, there are arts dealers
53
who are not descendants of igun street, so also hotel managemens come
to purchase this art works in bulk for retailing and to beautify their hotels.
The art of Benin bronzes which are dominated by artistically
expressive motifs are classed among the greatest art treasures not only in
Africa, but of the world. Without much ado, the tradition of Benin arts is
stylistic and ancient, and as old as time itself. It is no exaggeration
therefore when it is said that no city in Africa south of the Sahara has such
a glorious arts heritage as Benin. They were people whose artistic culture
was so organized such that the artists formed professional groups with
high prestige in the community.
Today Benin bronze heads and plagues are amongst the world’s
greatest African treasures, and in world arts. “Nigeria’s reputation in the
world of art at present rests largely on Ife-Benin tradition, on the fact that
ancient Nigerian arts were able to make a reasonable approximation to the
high arts of Egypt, Greece, Rome, India and Renaissance Italy.
54
NOTES AND REFERENCES
1.
Agama Omoruyi:
“A new dimension in Benin studies” in Aghana
Omoniyi ed. Nigeria Review of Art, Culture and History, Benin studies
vol.1 No.3 Cultural publisher, Benin-city June-1986 pp. 11-12.
2.
Ibid: p.12-15
3.
Moses igbinosun; “An interview at Igun street, No.39 Igun street, off
Sakpoba Road, Benin-city, Edo State, 15th September, 2010. Age 32.
4.
Ibid:
5.
Elvis Igbinosun:
“An interview at Igun street, No.39 Igun street, off
Sakpoba Road, Benin-city, Edo State, 15th September, 2010. Age 32.
6.
Mr. Iyamu A. Obazee:
“An interview at No. 11 Igun Street off Sakpoba
road, Benin-city, Edo State. 18th October, 2010, Age46.
7.
Mr. Edwin M. Aisien: “An interview at Benin gallery maison D. Aghama 43,
Ameze street off Costain road, after New Benin market, Benin-city, 28th
October, Age 56
8.
Ibid
9.
Ibid
10.
Ben Amos, Paula: The Art of Benin, London, Oxford, University press
1995, pg.26.
11.
Mr. Osazuwa S. Omoniyi:
An interview at the Oba’s palace, King
square, Ring Road, Benin-city Edo State, 5th November 2010. Age 56.
12.
Ibid
55
13.
Mr. Ehrimona:
An interview at No, 1 wire Road, Benin-city, Edo State,
3rd October 2010. Age 56
14.
Ibid
15.
Ibid
16.
Oshoma Imogene: The Edo and their Neighbours of mid-western Nigeria,
New Era Publisher, 1990, pg.198-200
17.
Ibid, pg. 121
18.
P. A. Igbafe “Pre colonial Economic Foundation of the Benin Kingdom in
I. A. Akinjogbin and Segun Osoba ed. Topics on Nigerian Economics and
Social History, Ile-Ife, University of Ife press. 1980. Pg.19-21
19.
Ibid pg. 21-23
20.
Ibid pg. 23-25
21.
Basil Davison:
“The growth of Africa civilization” in F. K. Buah and J.
F. Ajayi ed. A History of West 1000-1800 London Longman, 1967, pg. 127
22.
Ibid
23.
Oshoma Imoagene, pg. 122-123
24.
B. Plakeistein (ed),
Benin King and Ritual Court Arts from Nigeria
Snoeck Publishers. The Art Institute of Chicago 2007, pg. 36.
25.
A. E.More and G. Stacey,
Black Kingdom, black people, the West
Africa Heritage pg. 31.
56
BIBLIOGRAPHY
Aghama Omoruyi,
“A new dimension in Benin studies: In
Aghama Omoruyi ed, Nigeria review of
arts, culture and history Benin series
vol.1, No.3 Cultural publisher, Benin-city,
June 1986.
Brandbury R. E. Benin Studies, London Oxford University press, 1973.
Ben Amos, Paula:
The
Art
of
Benin
London
Oxford
University press 1995.
Davidson Basil:
“The growth of Benin of Africa civilization”
In F. K. buah and J. F. Ajayi ed. A history
of west 1000-1800 London Longman,
1967.
Egharevba J. U:
A short history L. Benin, Ibadan, Ibadan
University press 1960.
Igbafe P. A:
“Pre-colonial Economic foundation of the
Benin Kingdom” in I. A. Akinjogbin and
Segun Osoba ed. Topics on Nigeria
Economic and Social History, Ile-Ife,
University of Ife press 1980.
57
P. J. Dark:
Introduction to Benin Art and Technology,
Amtop publishers, London, 1973
M. A. Nkata Ad E. N. Arinze:
The lost treasures of ancient Benin,
national museum, cultural publication,
1980
A. F. C. Ryder:
Benin and the Europeans 1485-1897,
University of Ibadan press 1969.
B.s Plakeistein(ed);
Benin King and Rituals Court arts from
Nigeria
Snoeck
publishers,
the
art
institute of Chicago,2007.
P. A. Igbafe:
Benin
under
British
Administration,
Longman press, London, 1979.
58