THE ART OF VISUAL PERSUATION IN BENIN ROYAL COURT IN
NIGERIA
By
Sweet Ufumwen Ebeigbe (Ph.D.)
Associate Professor, Department of Fine /Applied Arts
University of Benin, Benin City, Nigeria.
E-mail: ebeigbesweet@yahoo.com
GSM:08023315566
08035672699
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Abstract
This paper examines the formal and iconographic characteristics of the artforms
and symbols in the royal arts of Benin (Nigeria). The purpose of this analysis is
to demonstrate how they are manipulated and utilized by Benin kings to convey
disguised propagandistic social, religious, moralistic, and political information,
messages and warnings. This essay employs the use of a stylistic and
iconographic method to elucidate this aspect of Benin art. A major finding of
this analysis is that Benin Kings evolved and utilized these artforms and symbols
principally for their self-promotion and self-preservation, and for the
propagation of the concept of Benin divine kingship.
Keywords and phrases: Benin, court art, visual artforms, iconography,
propaganda, symbols.
Introduction
African art serves diverse religious and secular functions, however, the
aspect that scholars tend to focus attention predominantly on, is its religious value.
This leaves a paucity of literature on other equally important functions of the art
tradition. For instance, an important intrinsic function of African art is its use for
propagandistic purposes. This is a dimension of African art that has hitherto
remained insufficiently exposed to the outside world. Many cultures in Africa
create different types of art for propaganda, which are unknown outside their
cultures of origin. By this, reference is being made to the artforms and symbols
that are used in African societies ingeniously to to spread social, religious and
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political information in order to influence public opinion and to manipulate other
people's beliefs. Artforms and symbols of this nature are prevalent, for example, in
the art of Benin (Nigeria). Throughout Benin history, every Benin Oba (King) has
upheld the practice of using Benin royal arts for various propagandistic purposes.
In this regard, they manipulate, transpose, and transmute various artforms and
symbols to preserve, underscore and transmit vital disguised propagandistic
information, warnings and messages about themselves and Benin kingship
institution.
This essay examines the form, content, meaning and context of use of some
selected Benin artforms and symbols in an attempt to explicate their inherent
propagandistic content, the motives behind their creation and utilization, and how
they fulfil the functions ascribed to them. The essay employs the use of a stylistic
and iconographic analysis for this investigation. The art objects and symbols under
consideration in this essay are: court and ceremonial artforms, brass victory
commemorative war plaques and staffs, trophy heads, images of Benin kings, and
themes of sacrifice and ritualized violence, and themes of royal aggression.
Perhaps it is necessary to first consider briefly the meaning of two terms that
are relevant to this essay: propaganda and propaganda art. A basic definition of
propaganda considers the term as a message that is intended principally to serve
the interests of the messenger (http://kids.britannica.com/comptons/article3
9276549/propaganda). Succinctly put, propaganda art is any form of art created
and used deliberately to change people's perceptions. It is against this background
that this essay examines the artforms which Benin Kings commission and use for
various propagandistic purposes, in diverse religious and secular contexts.
Prior
to engaging in this task, it must be stated here that the propagandistic messages
inherent in Benin artforms and symbols are not easily discernible without an idea
of the nature of this mode of expression as it applies to Benin art because the art
tradition is atypical in nature, complex in style and characterized by diversity of
inherent meanings. What is the nature of Benin imperial propaganda art?
The Nature of Benin Propaganda Art
Benin imperial propaganda art consist of traditional themes and symbols,
which are portrayed copiously on several Benin religious and secular court
artforms. In the usual manner of Benin art, the themes and symbols are
characterized by complex disguised symbolism, therefore, the meaning exegesis
inherent in them, as noted earlier,
require careful decoding in order for the
intrinsic propagandistic messages in the artforms to be exposed. The themes and
symbols evidently reflect and invoke the history, tradition and custom, as well as
the beliefs and practices of Benin culture, especially as these issues pertain to
Benin Kings and Benin divine kingship. Thus predominantly, there are themes of
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Benin history, politics, religion, and divine kingship. Essentially, these visual
depictions portray dignitaries from the annals of Benin history, such as the various
Obas who ruled Benin, and the chiefs, palace titleholders, priests, court officials,
and attendants who comprise the complex ritual and administrative hierarchy in
Benin traditional society. Specifically, a majority of the themes and symbols allude
the contributions of Benin Kings to the social, artistic and political developments
of the ancient kingdom, historical events that occurred during their reigns, and the
socio-cultural, religious and political agendas that the Obas promoted. In addition,
a number of the propagandistic themes and symbols purposely express the power,
authority and prerogatives of Benin divine kingship, and the political and spiritual
powers of Benin Kings. There are also numerous themes and symbols that allude
to the greatness of Benin Empire, especially the major events that contributed to
the power, affluence, and conceptual and spiritual prominence of Benin kingdom at
the zenith of its power.
In terms of style, the forms deployed in Benin propaganda art, as
exemplified in the themes and symbols under consideration, are purposely
schematized, and they are illustrated in an emblematic manner. Also, the
depictions have metaphorical meanings, and the use of disguised symbolism is
prevalent. Furthermore, the iconography of the themes and symbols is complex and
enigmatic. However, the themes are illustrated in a way that conveys, as closely as
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possible, the reality of the things, events and people that they symbolize even
though only selected details are portrayed visually. For example, the specifics of
each subject matter are condensed into cryptic symbols with inherent meanings in
accord with the fact that the depictions are intended mainly to portray the most
important and striking details. The various ideas represented are symbolized by
visual images that best represent the inherent connotations and messages that the
themes and symbols are intended to convey.
For instance, in illustrating
anthropomorphic forms, Benin craftsmen incorporate pictorial elements, such as
meticulous attention to details in the rendering of the regalia, weapons, hairstyles,
scarification marks, headgears, ornaments, and emblems of identity, office and
status of the various personages depicted. Benin artists also make biographical
references visually to vital aspects of the personality of each person portrayed. All
these features are intended to make identification of the personages depicted easily
identifiable even though the human figures are highly stylized. What are the
functions of Benin themes and symbols that have propagandistic undertone?
The Functions of Benin Propaganda Art
Benin themes and symbols that have propagandistic undertone serve diverse
functions. Basically, they serve as tools for the dissemination of loaded messages
and information for various purposes. Principally, they are a methodical effort on
the part of Benin Kings to persuade and manipulate the attitude of Benin citizenry
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toward some cause or position for various ends, or to inspire, influence and
persuade them to align with the social, religious, political goals and ambitions of
the Oba (King). Additionally, Benin Obas commissioned artforms that
incorporated propagandistic themes and symbols and used them as devices to sway
their subjects’ loyalty in their favour. They also used the themes as a means of
indoctrinating people to uphold the dominant beliefs and attributes associated with
Benin Obas and Benin divine kingship institution that centres on them, for
example, the supposed powers (spiritual and temporal) that Benins ascribe to the
Obas of Benin. Furthermore, Benin kings manipulate symbols, directly and
indirectly, to promote a positive view about themselves, and to exalt,
commemorate and broadcast their major achievements. There are also themes and
symbols that the Benins use to legitimize royal rule, and to project and escalate the
power and authority of Benin Kings.
Also worthy of note is the function of Benin propagandistic artforms and
symbols as tools of social control used by Benin Kings to intimidate their subjects
for the purpose of curtailing insubordination in order to ensure royal dominance, to
perpetuate the status quo, and to engender social, political and cultural change in
their society. Lastly, Benin Kings use the artforms and symbols as a means of
coercing their subjects to uphold societal moral values, and as means of inducing
them to engage in acts that are beneficial to Benin society.
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In order to further expound and buttress the points made above, a number of
Benin artforms and symbols with explicit or implicit propagandistic undertone are
examined below, namely: court and ceremonial artforms, brass victory
commemorative war plaques and staffs, trophy heads, images of Benin kings, and
themes of sacrifice and ritualized violence and royal aggression. The artforms and
symbols reveal how the Benins deliberately exploit the persuasive emphasis behind
visual depictions to influence the opinion and action of their target audience.
Court and Ceremonial Artforms
The royal arts of Benin are also used extensively by Benin kings as a
veritable means for sustaining court hierarchies. The various societies within the
palace have prestige artforms and regalia that are appropriate to the roles and ranks
within them that are assigned to their members by the Oba for their personal
aggrandizement. Guided by political motives, Benin kings ensure that such items
are configured with formal qualities that resolutely accentuate and underscore the
Oba’s centrality, visibility, status, authority, wealth, and spiritual and political
powers. For example, senior Benin chieftains have permission to wear on their left
hips brass animal and human head pendants. Prominent amongst these are leopardhead hip ornaments which the Oba permits only his war chiefs to wear (Fig.1). The
use of the leopard-head hip pendant is reserved exclusively for the Oba, and the
chiefs are permitted by him to wear theirs as badges of honour, as protective
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devices, and as symbols of the power over life and death that is delegated to them
(Blackmun 1983:63). Through the iconography of these hip ornaments, Benin
Fig.1: Bronze Leopard Hip Pendant
Source: caitboo.com
Kings actually transmit diverse messages about themselves and Benin kingship.
The leopard, considered in Benin as the “king of the bush animals,” is a metaphor
that symbolizes the Oba, because of its ferocious nature. The metaphoric
association of the Oba and the leopard derives from the Oba’s quick use of his
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physical and magical forces with enormous aggressiveness. The pendants are
intended to be a constant reminder to Benin warrior chiefs of the Oba’s expectation
of aggressive fighting by his warriors in the battlefield. Besides, in the context in
which the chiefs use their leopard-head pendants, the objects are allusions to royal
control over life and death of their subject that is sanctioned by Benin tradition.
The message that Benin Kings wish to convey by ensuring astutely that the
iconography of royal artforms continually reiterates their position of power is to
underscore their ascendancy, and also keep their subjects reminded of their preeminence position as divine Kings.
Another prime intent of Benin Kings in commissioning the creation of
propaganda art is to induce their subjects to engage in acts that are beneficial to
Benin society. One way that Benin Kings achieve this goal is to reward persons
who are extremely loyal to them or who perform deeds that advance the
development and stability of Benin kingdom with chieftaincy titles and the
privilege of using artforms associated with the titles. Some illustrative examples
are: chiefly regalia, ceremonial swords (ada and eben), the privilege of decorating
the walls of their residences with fluted patterns (eken n’ agben), which is a royal
architectural element. Also, they are granted the right to own and use certain
prestige artforms that only the Oba and the persons he grants the authorization, can
own and use. The awards of such incentives have a political undertone because the
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objects also convey potent information, propagandistic messages inclusive. Such
messages are disseminated by Benin Kings for different purposes, such as: to effect
social change in their society, to influence their subjects to adopt certain attitudes,
to induce them to give their consent to certain issues, to convince them to perform
particular actions, to inspire patriotism, loyalty, and submissiveness in their
subjects, and to swerve the loyalty of the recipients in favour of the imperial power
in Benin.
One remarkable artform that helps buttress the points made above is a brass
altar to the hand referred to as ikegobo that Oba Akenzua I (1715-1735), a Benin
king, awarded to his warlord, Ezomo Ehenua (Fig.2). In Benin, ikegobo serves as a
symbol of a person’s accomplishments. Great achievers in Benin worship their hand
by offering animal sacrifices at the altars. In an unprecedented move, Oba Akenzua
I (1715-1735) granted Ezomo Ehenua the right to use the brass ikegobo. The award
was a rare privilege. Benin citizens are only permitted to use wooden versions of the
altar, and only Benin Kings and Benin Queen Mothers have monopoly of owning
and using brass altars to the hand as (Ben-Amos, 1980). Ezomo Ehenua got this
reward because he defeated one of the Oba’s enemies named Iyase n’Ode, and for
re-conquering the weakened parts of Benin kingdom which enabled the Oba to reunify his kingdom and re-consolidate his power and authority. The Oba also made
Ezomo Ehenua’s title hereditary, and made him a supreme military commander in
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Benin Army, a position that was formerly occupied by the defeated Iyase n’Ode.
Being a symbol of achievement, the images depicted on every Ikegobo reflects the
status of its owner and user. Thus Ehenua’s ikegobo has around its cylindrical sides,
the figures of its owner and his attendants (Fig. 2), but being an artform that Oba
Akenzua I (1715-1735) intended to convey diverse political information and
propagandistic messages, this particular ikegobo is configured in a unique manner.
The norm is for ikegobo to have only the images of its owner and things associated
with him depicted on the object, as already said, but Ezomo Ehenua’s ikegobo is
atypical because it also has a depiction of Oba Akenzua I (1715-1735) sitting at its
top surrounded by sacrificial animals as he performs a ritual sacrifice holding in his
left hand a rattle staff (ukhure). This is the most visible theme on brass ikegobo
which points at the propagandistic intent of Oba Akenzua I (1715-1735) in
demanding that this particular ikegobo be configured in its atypical manner. Benin
oral tradition states that it was the royal ritual that the Oba performed that ensured
the success and safety of his warlord in the hazardous battle. By including this
theme, Benin craftsmen were invoking
the power of imagery to underline the
acclaimed ability of Benin Kings to manipulate the mysterious forces of the natural
world for the benefit of their kingdom and people, and they were also emphasizing
the role of Benin Kings as the temporal and spiritual head of their people.
The
Oba is depicted holding in one hand ukhure rattle staff, a royal icon and instrument
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of state craft that Benin Kings use in communicating with the royal ancestral spirits
and for intensifying their blessings and curses. The ukhure is intended to evoke the
presence of royal ancestors, who the Benin claim works in conjunction with the
living Oba to ensure the prosperity of Benin kingdom.
There are other multiple disguised propagandistic messages that are
conveyed through this ikegobo that need to be mentioned here to further explicate
the nature of Benin propagandistic art. Firstly, Ezomo Ehenua’s ikegobo is a
victory monument which serves as an aide memoire to the Benins of the political
achievements of Oba Akenzua I (1715-1735). Secondly, in awarding this royal
gift to his loyal war lord, Oba Akenzua I (1715-1735) meant to project the image
of Benin Kings as strong, moral leaders who reward the loyalty and support of
their subjects. On the one hand, the artform also serves as a tangible means of
underscoring the Oba’s right to penalize or pardon persons who transgress in his
domain, and on the other hand, another message implied through this artform is
that Benin Kings can be as benevolent as they are punitive, and that acts of
aggression and brutality are not the only means that Benin Kings use to ensure
effective control of their subjects. Thirdly, in granting the use of a brass ikegobo to
his warlord, Oba Akenzua I (1715-1735) was astutely wooing his subjects to
emulate the recipient and participate in and take the course of action that would
benefit his kingdom, such as Ehenua’s defense of the territorial integrity of Benin
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kingdom. Thus the artform served as a persuasive tool intended to advance support
for the numerous military campaigns that Benin Kings were constantly engaged in.
Fig. 2: Ezomo Ehenua’s Ikegobo
Source: http://fa210cazwolin.blogspot.com/2009/01/altar-to-handikegobo-of-ezomo-ehenua.html
Ehenua’s ikegobo is one of the several cautionary artforms that Benin Kings
commission to warn their subjects that death awaits persons who undermine or
challenge the power and authority of Benin monarchs. Artforms like these that are
used to convey potent messages, especially messages with political undertone,
were particularly proliferated in the fifteenth and sixteenth centuries when Benin
Kings had to fight violent wars to engender the territorial expansion and stability of
their kingdom, and to enhance the power of the Oba. Artforms with political
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undertone were also promulgated during periods when the economic and political
powers of Benin kings dwindled due to internal civil conflicts. The prime purpose
for their creation and utilization was to escalate the political powers of Benin
kings. Some other remarkable examples of such artforms are brass victory
commemorative plaques.
Brass Victory Proclamation Plaques
Benin warrior kings commissioned the creation of many victory plaques with
themes that accentuate their military prowess and war triumphs that engendered the
expansion of the boundaries of Benin kingdom, and enhanced the splendor of
Benin royal court, and Benin kingdom. Benin warrior kings reigned during the
epoch of Benin history referred to by historians as the “age of the warrior kings”
which began in the early fifteenth century and ended in late sixteenth century.
Some illustrative examples of the themes on Benin war victory plaques are: images
of Benin Kings wearing battle gears and holding magical swords, shields and
spears (Fig. 3). They are usually depicted either alone or surrounded by Benin
warrior chiefs and soldiers. Other themes depict Benin warrior chiefs, soldiers, or
images of Portuguese mercenary soldiers who fought alongside Benins in the wars
they fought to secure Benin kingdom in the fifteenth century. These themes
commemorate royal war victories, and announce visually the military prowess of
Benin monarchs. They are also intended by the Kings who commissioned them to
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educate the Benins about their competence in the act of governance and leadership.
They also desired them to serve as victory monuments to lucidly commemorate
their war achievements after their demise, and also as a form of propaganda to
advance their military campaigns while they were alive. The themes celebrate and
re-affirm the glory and enormous power that Benin kingdom enjoyed at the time
the plaques were made. Apart from their function as self-promotional artforms that
project the image of Benin Kings, and amplify their achievements, the plaques also
provided the kings with a tangible means of transmitting propagandistic messages
and warnings. By providing their people with visual records of their war
accomplishments, Benin Kings intended the artforms to serve as a constant
reminder to their subjects of their laudable achievements with the aim of inspiring
gratitude and pride in the citizenry. Moreover, they were used to instil trepidation
in the enemies of Benin kingdom, to warn probable rebels of the consequences of
undermining the power of the Oba, and to forestall rebellions against Benin
kingdom. One other propagandistic motive of Benin Kings in creating and using
these themes of war was for them to serve as a means of coercive persuasion
intended to subtly sway conquered rulers of Benin vassal states to identify with the
political ambitions of Benin Kings. The collaboration of the subjugated rulers was
badly needed by their captors in Benin because people from the areas captured by
the Benins were required to boost Benin Army troops.
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Fig. 3: A Brass Victory War Plaque
Source: www.thewildkingdoms.com
Furthermore, by broadcasting their war triumphs on the war plaques, Benin
Kings aimed at heightening their citizens’ feeling of patriotism, and also to
inculcate in them the willingness to participate in the incessant expansionist wars
that they waged. Thus the themes served as tools of mobilisation to advance the
war efforts of Benin warrior Kings. Ensuring effective mobilisation for war was a
priority in the political agendas of Benin Kings because in the fifteenth and
sixteenth centuries, Benin kingdom witnessed the greatest expansion, and
throughout Benin history, as recorded in Benin oral records, Benin Kings were
continually engaged in campaigns to conquer new frontiers, and to subdue
conquered territories that dared to revolt.
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The massive dissemination of themes of war that symbolize the gallantry of
Benin Kings and the collective classical tradition of bravery of the Benin people,
like these examples, was an effective strategy used by Benin Kings to inspire their
subjects to align with and support their political goals. In the next example, one
sees clearly Benin Kings’ detectable tendency to use their royal arts as a medium
for communicating, and actualizing their political and ideological goals.
Benin Brass Trophy Heads
An ancient Benin custom decreed that Benin soldiers cut off and convey to
Benin the heads of conquered obstinate rulers who rebelled against Benin Kings,
which the Oba ordered the royal guild of bronze casters (igbesamwan) to replicate
in brass as trophy heads (Egharevba, 2005; rpt: 36). Some of the trophy heads were
suspended on the hooks of a large iron staff (Osun-ematon), a symbol of Osun, the
god of medicine, and placed in the shrine of war in the Oba’s palace (Nevadomsky,
1986: 42-43). Some of the trophy heads were sent to the successors of the
conquered rulers. By means of the trophy heads, Benin Kings played a
psychological game of the mind with the successors of the murdered rulers. The
trophy heads functioned as nerve-racking souvenirs to remind the new rulers of the
fate that befell their rebellious predecessors, and also to influence them to stay
loyal and submissive to the Oba. They also function as gruesome reminders that
warn Benins of the consequences of any revolt against Benin Kings. The
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propagandistic message that the artforms convey is apparent: death await persons
who dare to challenge Benin Kings. Benin trophy heads are some striking
examples of the numerous artforms that Benin Kings manipulated, directly or
indirectly, to intimidate their subjects, in order to curtail insubordination, ensure
royal dominance, perpetuate the status quo, and to effect social change in their
kingdom. Through the use of these tangible means that express their formidable
power, Benin Kings
strived
to ensure effective control over their subjects,
enhance their legitimate authority, and engender effective governance in order to
promote peace, order, progress, societal cohesion, and stability in Benin kingdom.
Judging from the function of Benin trophy heads and other intimidating
themes and symbols, it is undoubtedly clear that Benin Kings have a tendency for
manipulating fear as a powerful emotion tool for the achievement of their political
agendas. This strategy of playing on their subjects’ deep-seated fears, must be
very effective, at least judging from the aura of fear that surround the person and
office of the Oba even till date as mirrored in one of Benin royal epithets which
describes Benin Kings as: “Oba ne ugboriri,” which translated means, “the aweinspiring King.” One needs to visit Benin to appreciate fully the aura of awe,
respect, love, loyalty, and the great inscrutability and enigma that surrounds the
person of the Benin monarch and Benin kingship. It can be said that the deliberate
manipulation of symbols, and the manipulation of fear, the most basic human
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emotion serve Benin Kings well in their bid to sustain their position of dominance
in traditional Benin.
Staffs of Office
There are a number of brass and ivory staffs of office and emblems of
identity of Benin Kings which different Benin Kings commissioned during their
reigns to commemorate their personal victories, and important events that occurred
in their reigns. These staffs have distinctive iconography that evoke specific kings
or which illustrate the particular events commemorated. Additionally, the imagery
portrayed on the staffs conceals messages that can only be deciphered once the
artforms has been placed in its historical context. An example is the brass staff
commissioned by the earlier mentioned Oba Akenzua I (1715-1735). The staff
commemorates the re-unification of Benin kingdom which he engendered (Fig. 4).
Benin oral history reports that prior to the reign of Oba Akenzua I (1715-1735),
Benin kingdom witnessed an era of political disorder characterized by mass
rebellion of village leaders that resulted in anarchy, and succession disputes
following the death of Oba Ohuan (c.1608AD) who had no heir to succeed him
(Egharevba, 2005; rpt: 34). However, as oral history documents, Oba Akenzua I
(1715-1735) conquered several troublesome foes, and successfully re-united the
kingdom and re-established firm royal dominance in Benin. This royal brass staff
(Fig. 4) commemorates his victory over one of the insurrectionists, Iyase n’ Ode, a
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spiritually powerful Benin warrior chief. On his victory proclamation staff, Oba
Akenzua I (1715-1735) is depicted frontally posed in full royal regalia standing on
top of an elephant, and he carries ritual objects in his hands. The defeated rebel
Iyase n’ Ode is represented as an elephant with a trunk that ends as a hand because
he was a renowned hunter of elephants who is said to have possessed the power of
transforming into an elephant. This staff, as is typical of other Benin art objects, is
filled with symbolic detail, and concealed multiple propagandistic messages. This
theme of a conqueror (the Oba) depicted directly on top of the conquered foe
(Iyase n’ Ode) is unambiguous: it underscores the acclaimed invincibility of Benin
Kings. This self-promotional artform was commissioned by Oba Akenzua I (17151735) to project his personal image, and the image of all Benin Kings, and to
remind the Benins of the Oba’s essential role to the development of Benin
kingdom. Also, the image of the Oba is depicted in a prominent position on the
staff to pay homage to the concept of the Oba (divine king). Furthermore, similar
to other Benin artforms that evoke the war triumphs of Benin Kings, the message
of this staff is to remind the Benins of the Oba’s traditionally sanctioned
prerogative to punish and exterminate all his antagonists.
Visual Depictions of Benin Kings
Images of Benin Kings are rife in Benin art. They are mainly images for
royal commemorations which reinforce the dominant role of Benin Kings in Benin
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society. The Oba is the embodiment of Benin tradition and culture, and Benin
divine kingship institution is the focal point of Benin political system. Basically,
these are some of the concepts that sculptures of Benin Kings are meant to
Fig.4: Oba Akenzua I (1715-1735) Rattle Staff
Source:http://www.metmuseum.org/collection/
underscore and evoke. Figures of Benin Kings appear in many forms, including
full figures, portrait heads and two-dimensional depictions rendered in a
naturalistic style. The formal and iconographic characteristics of the sculptures
typically emphasize the fundamental precepts of Benin kingship. For example,
there are depictions that portray Benin Kings holding weapons which evoke their
war exploits and victories. An illustrative example is the image of Oba Ozolua (c.
1481AD), who is usually depicted wearing a coat of iron mail over his full coral
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bead regalia. The Benins claim that when he wore his battle gear anyone who
touched him would fall sick and die (Blackmun, 1983:50). He is portrayed holding
a dismembered body of a fallen enemy in his left hand, and a sword (umozo) in his
right hand. This image of Oba Ozolua (c. 1481AD) evokes his aggressive military
accomplishments. According to Benin oral history narrated by Egharevba (2005;
rpt: 24), this Benin Oba was nicknamed “Ozolua the Conqueror” (Ozolua n’
Ibaromi) because of his voracious appetite for war. It is said also that he used to
wage several wars against many towns and villages nearly every six months just to
satisfy his craving for fighting in wars, and that he fought and won not less than
two hundred wars. Depictions of Benin Kings like these examples that evoke their
war exploits, as already noted, amplify their martial power, and their acclaimed
invincibility. They are also visual symbols that Benin kings used to intimidate
people in their attempt to secure the loyalty of particular persons and populace in
their kingdom, and to enforce obedience. Achieving these goals was of particular
importance to Benin Kings because by the seventeenth century, Benin Empire had
grown into a vast kingdom extending to north east to Dahomey, eastward to the
Niger River, and Westward beyond Lagos on the coast (Hull, 1981: 9). The
vastness of the kingdom made governance a complex task that required Benin
Kings to device strategies to engender effective control, and the accomplishment of
their religious, social and political goals. One of such strategies was the persistent
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use of Benin royal arts for the dissemination of propagandistic information,
messages and warnings.
In other variations, Benin Kings are depicted carrying sacred objects such as
a proclamation staff (isevber’igho), a royal ancestral staff (ukhure) and a
ceremonial sword (eben). These are iconic items that Benin Kings use to intensify
the potency of their proclamations, including their blessings or curses (Fig.5). In
other depictions, the kings hold sacrificial animals (an indication that they are
performing royal rituals) which allude to their occult powers and the magical
forces at their disposal. The purpose of themes like these is to boost the confidence
of Benin citizenry in the ability of the Oba to govern and lead Benin kingdom to
great heights and prosperity. The Benins believe that the well-being of Benin
kingdom is due to the magical powers of the Oba; hence they consider him as the
embodiment of the welfare and continuity of his people. Also, these themes are
symbols of power meant to remind the Benins that the welfare of their Oba is
ultimately connected with that of the people. Also, by focusing attention on their
superior spiritual powers, Benin Kings are purposely inducing fear in people,
especially their enemies. Furthermore, images that portray Benin Kings performing
royal sacrifices are supposed to remind the Benins of
the important role that
sacrifice plays in the royal court. The Benins claim that the state ceremonies that a
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reigning Oba performs annually equip him spiritually with the ability to guide the
Benins with good judgment and resoluteness into prosperity. To underscore the
Fig. 5: Brass Figure of a Benin Oba (King)
Source: arttrak.blogspot.com
importance of royal state ceremonies like igue Oba, during which Benin Kings
venerate their heads, and Ugie Erha Oba, during which sacrifices are offered to
their ancestors. Many of such royal ceremonies are illustrated in Benin art. By
means of such themes and symbols, Benin Kings underline the mystical aspect of
their personality, and reinforce their claim to a divine ancestry; the source of their
acclaimed mystical powers. Through these royal themes and symbols, Benin Kings
are also reminding the Benins of the unique attributes that differentiate them from
their subjects; the extraordinary attributes that position them in a more superior
level than any other person in their land. These symbols are designed to influence
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and convince people to uphold faithfully the Benin belief in the paranormal powers
of Benin Kings.
Themes of Sacrifice and Ritualized Violence and Royal Aggression
Frightening themes of sacrifice and ritualized violence and themes of royal
aggression are rampant in Benin art. Some foremost examples are: themes of
human sacrifices, and images of the palace priests who performed them, images of
sacrificed victims, decapitated bodies of executed rebels, and figures of royal
executioners holding scary swords. Benin Kings evolved these themes and symbols
that are capable of infusing tremendous trepidation in the viewer to influence the
opinions and actions of their subjects towards some specific ends. These are potent
symbols that Benin Kings employ to make the Benins attentive to the reality of
their powers (spiritual and temporal). Such gruesome themes were meant to
enhance the shock value of the messages that convey royal aggression that Benin
Kings transmit verbally and visually. Additionally, the themes of royal aggression
are a means that Benin Kings use to underscore the royal prerogative that bestowed
on them the right to take life. Benin oral history is rife with stories of the human
sacrifices that were performed by Benin Kings and stories of some of the Obas
who were exceptionally tyrannical and oppressive. Many of such stories are not
only enshrined in Benin oral tradition, they are also illustrated copiously in Benin
art to evoke and underscore the Benin custom that sanctions acts of royal
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aggression. In Benin, acts of royal violence are viewed as indications of the Oba’s
strength and capability as a ruler, and they help to institute the legitimacy of royal
rule. These facts are precisely what the themes of political and magical violence in
Benin art encapsulate, and like other similar ones mentioned earlier, the themes
and symbols serve as mechanisms of social and political control.
Considering the artforms and symbols examined in this essay, one can see
the aptness of the remark made by Adams (1999:598) that, African visual arts
“encode ideas central to the ideologies and worldviews of African people in some
cases, the art refers to or displays information – revealing or concealing it – while
in others the object itself is an ideological instrument.” Additionally, the way
Benin Kings cleverly manipulate Benin royal arts extensively for the purposes
explicated in the preceding texts recalls the remark made by Visona et al
(2001:196) which states:
across history and societies throughout the world, art has been used to
support the authority of sacred and secular leaders and to legitimize the
concept of leadership itself as a social institution. Leaders commission art,
dispense it, send messages with it, and use it instrumentally both to
perpetuate the status quo and to affect change.
The fact that Benin art is used as instrument for the dissemination of
propagandistic messages and information is not totally unexpected because Benin
art is created principally to glorify the Oba (King), to honour his ancestors, and to
legitimize the Benin divine kingship as a social institution. Consequently, various
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Benin artforms and symbols are purposely integrally entwined with the religious,
social, political, and economic agendas of Benin Kings. In order for the artforms
and symbols to perform the functions ascribed to them effectively, they are
configured in an atypical style, purposely imbued with complex symbolic
meanings, and they are configured to convey inherent political, religio-moral,
philosophical, and social-cultural information. As it is with African art generally,
accurate decoding of the messages that these artforms convey is required for their
connotations to be appreciated and comprehended.
Conclusion
This essay is a practical assessment of the visual symbols that Benin Kings
evolve and manipulate to transmit propagandistic information, messages and
warnings. The analysis reveals that Benin Kings employ several artforms and
symbols, amongst other reasons, to manipulate, inspire, influence and persuade
Benin citizens to align with their social, religious and political agendas, goals and
ambitions, and to indoctrinate their citizens to uphold the Benin belief in their
numinous powers, and to swerve their subjects’ loyalty in favour of the imperial
power in Benin. It was also revealed that the formal and iconographic
characteristics of these artforms and symbols contribute greatly to their ability to
perform the functions ascribed to them by their creators and users. Going by the
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foregoing, it can be asserted that Benin art serves the interests of the Kings of
Benin aptly as a tool of imperial propaganda.
References
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Ben-Amos, Paula. “The Power of Kings: Symbolism of a Benin Stool.” The Art of
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Blackmun, Winston, Barbara. “Remembering The Warrior Kings.” 49-50 The Art
of Power, The Power of Art: Studies in Benin Iconography. Ed. Ben-Amos
Paula and Arnold Rubin. Los Angeles: University of California Museum of
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Egharevba, Jacob Uwadiae. A Short History of Benin. Ibadan: Ibadan University
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Hull, Richard.W. “Benin Art as Power.” Images of Power, Art of Royal Court of
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Nevamdosky, Joseph. “The Benin Bronze Horseman as the Atah of Idah.” African
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Propaganda. (2015). In Compton's by Britannica. Retrieved
fromhttp://kids.britannica.com/comptons/article-9276549/propaganda
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