Ire Ibeji
Yoruba has a high rate of twin births as well as infant mortality rate. The twin figures depicted here represent a set of twins who have died. Only one figure gets commissioned if a child dies, two do not get commissioned unless both children die. The reason these figures are sculpted are to protect the living twin from harm. In Yoruba they believe that nyama is released when a child dies. Nyama is a dangerous mystical spirit that can harm the other twin. A woman has a figure commissioned after her child passes away. This figure takes the dead child's spirit and therefore protects the other twin from the dangerous nyama. The mother of the deceased child will bathe and take care of this figure just like it was her own child.
Stylistically one can see the popular abstracted features including almond shaped eyes and elongated necks. Carved from wood the figures depicted stand with arms at their sides with un-proportioned body parts.
A woman is seen as blessed if she produces twins as with a single child. These figures show that a woman was able to have twins showing that she is very fertile. Although these figures are not prayed over in order to promote fertility they do show that a woman was very fertile.
Stylistically one can see the popular abstracted features including almond shaped eyes and elongated necks. Carved from wood the figures depicted stand with arms at their sides with un-proportioned body parts.
A woman is seen as blessed if she produces twins as with a single child. These figures show that a woman was able to have twins showing that she is very fertile. Although these figures are not prayed over in order to promote fertility they do show that a woman was very fertile.
Maternity Group Figure
Carved by the Afo peoples of Nigeria, this piece titled “Maternity Group Figure” this figure represents the good mother or the highlight of a woman in the Afo society. Notice the figures large elongated breasts, the scarification on her arms and face, the multiple children, and the abstracted facial features including the almond shaped eyes and elongated neck and forehead. This figure is often considered an ancestorial figure and it is brought out only once a year. When it is brought out it is prayed over for increased fertillity by the men.
Usually carved from one piece of wood. Children are carved separately
Usually carved from one piece of wood. Children are carved separately
Asante "Akua'ba"
Akua'ba, Asante, Ghana, Wood
Made by the Asante people from Ghana the figure shows common Asante features including an elongated neck, almond shaped eyes, scarification, and a large flattened forehead. Styles vary according to the carver.
Almost always carved as female, these figures called Akua’ba (singular) or Akua’ma (plural) are seen as fertility figures and many times made form wood. These pieces will be commissioned when a woman is longing for a child or wanting a healthy and safe pregnancy and birth of either a male or female child or both (twins). Asante women carry these figures around with them and treat them just like their children; bathing them, clothing them and feeding them as if they were their own child.
Many times in the 21st century these fertility figures are sold as tourist works and not used for their spiritually based intended purposes. These Akua’ma are great representations showing a females longing to reproduce in her society. Women are regarded highly when they reproduce in the Asante culture.
Almost always carved as female, these figures called Akua’ba (singular) or Akua’ma (plural) are seen as fertility figures and many times made form wood. These pieces will be commissioned when a woman is longing for a child or wanting a healthy and safe pregnancy and birth of either a male or female child or both (twins). Asante women carry these figures around with them and treat them just like their children; bathing them, clothing them and feeding them as if they were their own child.
Many times in the 21st century these fertility figures are sold as tourist works and not used for their spiritually based intended purposes. These Akua’ma are great representations showing a females longing to reproduce in her society. Women are regarded highly when they reproduce in the Asante culture.
Maternity Figure
Made by the Bamana people of Mali, the figure shows abstracted stylistic features found in the Bamana culture; here in the Maternity Figure one can see the tall coiffure (head dress), almond shaped eyes, scarification, elongated neck and torso. Fertility and reproduction are looked upon highly in the Bamana culture.
If a woman is unable to bear children it ends up being her responsibility to fix the problem. According to Roy Sieber author of African Art in The Cycle of Life, “many times women will affiliate with Gwan, an association that is especially concerned with such problems. Women who avail themselves of its ministrations and who succeeds in bearing children make extra sacrifices to Gwan, dedicate their children to it, and name them after the sculptures associated with the association.” [1]
This figure is a great example that shows a woman’s role in reproduction and how important it is to a woman to reproduce. It is important to note that many times there are multiple meanings that go along with one object
[1] Roy Sieber, African Art in the Cycle of Life (United States: Smithsonian Institution), 36.
If a woman is unable to bear children it ends up being her responsibility to fix the problem. According to Roy Sieber author of African Art in The Cycle of Life, “many times women will affiliate with Gwan, an association that is especially concerned with such problems. Women who avail themselves of its ministrations and who succeeds in bearing children make extra sacrifices to Gwan, dedicate their children to it, and name them after the sculptures associated with the association.” [1]
This figure is a great example that shows a woman’s role in reproduction and how important it is to a woman to reproduce. It is important to note that many times there are multiple meanings that go along with one object
[1] Roy Sieber, African Art in the Cycle of Life (United States: Smithsonian Institution), 36.