Summary of "Lecture 9 DAH 201 The Yoruba and the Fon"

Summary of Lecture 9 DAH 201: The Yoruba and the Fon

This lecture primarily focuses on the Yoruba people—their culture, history, religion, art, and social practices—with some references to the Fon. It explores the origins, urban development, religious beliefs, artistic traditions, and modern cultural practices of the Yoruba, including their interactions with European imperialism and how it affected their traditions.

Main Ideas and Concepts

1. Geography and Demographics

The Yoruba live in several areas in West Africa and represent the most populous language group in the region.
They are the most common ancestry group among African Americans, with many tracing roots to the ancient city of Ife.

2. Religion and Spiritual Beliefs

Yoruba religion is animistic, involving numerous gods called Arisha, spirits connected to animals, nature, and independent entities.
The gods are continually created, resulting in hundreds of thousands of Arisha.
Key spiritual concepts include:
- Ori (head) + Oseha (life force) = Boresha.
- The Ori represents both the physical (outer head, Ore Ode) and spiritual (inner head, Ore Inu) self.
The creation myth involves the deity Oduduwa, who created the earth from water by spreading sand with a chicken’s feet, symbolizing creation through natural elements.

3. Urban and Political History

Ife (also spelled Eefa or Ile-Ife) was the Yoruba capital and a major urban center from about 1200–1400 CE.
The Pavement Era (1200–1400) refers to a ceremonial center built on an already developed urban settlement.
Ife was a large, organized city from roughly 800–1500 CE.
Kingship is a central institution, with the Oni as the king, who is both a political and spiritual leader.
Kingship is characterized by stability, consensus, and the king acting as a steward of power for the people rather than an absolute ruler.

4. Art and Sculpture

Yoruba art is highly idealized, emphasizing symmetry, calm expressions, and large foreheads symbolizing wisdom and intelligence.
Bronze heads and terracotta figures were often buried in sacred groves to protect them from European missionaries and slave traders.
Scarification patterns on faces (lines, cuts) indicate social status and secret society memberships.
Artistic forms evolved from naturalism to abstraction over time.
Female figures, possibly representing female monarchs, also display idealized features and serene expressions.
Some sculptures have holes suggesting attachments for crowns or hair, linking them to royal regalia.

5. Modern Yoruba Practices

Are Beshí figures are carved representations of deceased twins, cared for like living beings in shrines.
Twins have special spiritual significance and are associated with the god Shango (Thunder God).
Twins have the highest mortality rate worldwide among the Yoruba, so these figures serve as a way to cope with loss and placate Shango.
Modern Are Beshí figures may be made from plastic dolls or photographs, showing adaptation of tradition under imperialism and neo-imperialism pressures.

6. Gelede (Gala Day) Society and Masquerades

The Gala Day society is a mixed-gender masquerade tradition always led by women.
It honors Iyanla, female deities and ancestors, emphasizing the power of elderly women who embody both male and female powers.
The masquerade serves multiple purposes: religious offerings, social education, community entertainment, and social commentary.
All masquerade performers are men, even when representing female characters.
Costumes and masks are brightly painted with modern industrial materials.
Audience participation is key, with spectators interacting with performers and sometimes challenging their actions.
The masquerade includes parody and social critique, including representations of white European visitors to Africa, highlighting cultural misunderstandings and colonial dynamics.

7. Impact of Imperialism and Neo-Imperialism

European imperialism disrupted archaeological practices, art production, and cultural traditions.
Many artifacts were removed from their original sacred contexts and placed in museums.
Scientific archaeology in West Africa is underfunded and often dominated by non-African researchers.
Traditional practices and arts have been altered or diminished due to colonial and post-colonial pressures.

Methodologies and Instructions (If Applicable)

When analyzing Yoruba art (e.g., sculptures):
- Consider the idealized features and what they symbolize (wisdom, calmness, leadership).
- Reflect on the spiritual concepts of Ori (outer and inner head) and how they might be represented in form.
- Think about the function of scarification and its social/spiritual significance.
For extra credit, students are encouraged to:
- Examine the form of Yoruba figures and relate them to spiritual ideas of fate, true being, and invisibility.
When viewing Yoruba art in museums, remember:
- Many pieces were originally part of shrines and had spiritual functions.
- Consider the impact of imperialism on how these pieces were acquired and displayed.

Speakers and Sources Featured

The lecture is delivered by a single instructor/professor (name not provided).
References include:
- Yoruba oral traditions and mythology (e.g., Oduduwa creation story).
- Modern Yoruba cultural practices and beliefs.
- Archaeological findings and interpretations.
- Historical accounts of European imperialism and its effects on West African cultures.

End of Summary