The
Nigerian
Field
Volume 63  Parts: 3 - 4 O C TO BE R  1998
IBADAN UNIVERSITY LIBRARY
THE NIGERIAN FIELD
Volume 63, Parts 3-4 October 1998
EDITORIAL
The Nigerian Field Society can claim as members many people whose life and work have 
left indelible marks on the history of Nigeria. Numbered among these is the late 
Kenneth Crosthwaite Murray (1909-1972), art-teacher extraordinary and one of the 
founding fathers of the Antiquities Service of Nigeria, later to become the National 
Commission for Museums and Monuments. On May 21st 1998 he was honoured by the 
Second K.C. Murray Memorial Lecture, initiated by the Institute of African Studies, 
University of Ibadan and delivered by Dr. Sule Bello, Executive Director of the Council 
for Arts and Culture, Abuja, who paid tribute to him as a man able to rise above the 
prejudice of his own time and assert the value of the arts and culture of Nigeria. 
However, Murray was concerned not only about artefacts but also about the 
environment. He deplored the pollution of the beach and the Lagos Lagoon and planted 
trees and shrubs to enhance the grounds of the National Museum, Lagos. We are sure 
that his spirit was watching with approval the activities of the Young Environmental 
Scouts of the International School, University of Ibadan, who on September 30th 1998 
undertook the planting of the containers in the courtyard of the Institute of African 
Studies, focus of the activities of the Ibadan Branch of the Society.
Articles by K.C. Murray “in The Nigerian Field
1933. Traps. 1/2 (6), 31-34
1936. Women’s weaving among the Yorubas at Omu-Aran in Ilorin Province. 5, 182-
191
1939. The provision of a Nigerian Museum. 8, 169-175.
1941. Ogbom. 10, 127-131.
1943. Tiv pottery. 11, 147-156.
1943. Frobenius and Ile-Ife. 11, 200-203.
1947. Ayolugbe. 12, 73-75.
1949. Idah masks. 14, 85-92.
1950. An exhibition of masks and head-dresses of Nigeria. 15, 26-39.
1951. The colonial art exhibition. 17,41-42.
1971. Ogbom. SI, 55-56.
1972. Pottery of the Ibo of Ohuhu-Ngwa. 37, 148-175.
1938. (with G.I. Jones), The exhibiton of wood-carvings, terracottas and water­
colours. 7, 12-15.
IBADAN UNIVERSITY LIBRARY
90 The Nigerian Field
OFFICERS OF THE SOCIETY
PRESIDENT: Professor D T Okpako, 22 Sankore Avenue,
University of Ibadan
VICE-PRESIDENTS: Eng N O Oyelola, P O Box 30385, Secretariat
Post Office, Ibadan
Professor E J Alagoa, University of Port 
Harcourt
SECRETARY: Dr Dele Layiwola, Institute of African Studies,
University of Ibadan
TREASURER: Dr Modupe Ladipo, General Out-Patients Dept.,
University College Hospital, Ibadan
EDITOR: Dr Pat Oyelola, Insitute of African Studies,
University of Ibadan
Corrigenda
VOLUME 63, PARTS 1-2
Alhaji Akin Fakeye
The neo-traditional Yoruba carver who displayed his works in the foyer of the Institute 
of African Studies, University of Ibadan, at the Annual Business Meeting o f the Society 
held on April 4th 1998 was ALHAJI AKIN FAKEYE (not Alhaji Gani Fakeye—see line 
7 of the Editorial and the caption under the photograph on page 76). The Editor 
apologises for confusing the identities of these two carvers from the renowned Fakeye 
family.
Mushrooms, man and nature (pages 3-18)
Page 11. The caption to figure 5 should be tranferred to figure 6 on page 12.
Page 11. The caption for figure 5 should be "Xerophilina sp.”
Reviews of books, a journal and a film (pages 59-68)
These were omitted form the Table of Contents on the back cover. The works reviewed 
were:
African Art,
The Art of African textiles,
Yoruba Ideas (a journal),
Vitellaria paradoxa (a monograph),
Parkia biglobosa (a monograph),
The useful plants of West Tropical Africa, Edition 2, vol. 3, Families J-L 
Birds, beasts and bature,
The call of the lightning Lord (a film based on the life of Sango).
IBADAN UNIVERSITY LIBRARY
The Nigerian Field 63:121-130 (1998) 121
ON THE ORIGIN OF TWO BRONZE DWARFS 
IN THE MUSEUM FUR VOLKERKUNDE,
VIENNA, AUSTRIA
Ohioma Ifounu Pogoson 
Institute o f African Studies, University of Ibadan1
Two bronze dwarfs (Plates 1 & 2) that are believed to be from Benin, ancient capital of 
the Edo of Southwestern Nigeria, now reside in the Museum fur Volkerkunde in Vienna. 
The bronze dwarfs were captured from Benin in 1897 when it fell to the British. Since 
then, it has always been assumed that all of the works of art that were seized and 
subsequently removed from the ancient capital by the British army are the works of the 
famed Benin court artists, in spite of the well-established connections between Benin and 
her neighbours, especially Ife, Owo, Idah and the Ibo, who are themselves equally 
accomplished artists. The dwarfs are among the finest examples of metal art from the 
southwestern part of Nigeria. According to the leading authority on the substantial 
Vienna collection of Benin art, for £200 the Lichtensteins purchased the three most 
famous brass figures for the museum’s Department of Anthropology and Ethnography. 
The dwarfs, which were said to be "the only perfect pair that were found in the city", 
were among them (Duchateau, 1997:108). This appears to be the first hint suggesting 
that the works could be of Benin manufacture apart from the fact of their being removed 
from the ancient capital. However, insufficient attention has since been given to finding 
out the true origin of these bronze masterpieces in the Vienna collection.
That the dwarfs were taken out of Benin seems to have been supported by some 
scholars in the early period. Olfert Dapper (1668) confirmed the presence of real dwarfs 
in the court of Benin. According to Duchateau, Dapper even depicted these dwarfs 
graphically on a copperplate engraving included in his own work (Duchateau, 1997: 73). 
Ling Roth (1903) who was in Benin during the Punitive Expedition became the first to 
record sighting the bronze dwarfs among the other spectacular bronze objects in Benin 
City. Unfortunately since that time, there has been little interest in the dwarfs. But Von 
Luschan (1919) did point out the high artistic value of the bronze dwarfs, which were 
then already in the collection of the Museum fur Volkerkunde in Vienna. Schweeger- 
Hefel (1948) also commented on the outstanding quality of the works, noting them as one 
of the high points of Benin an.
Another leading authority on the ancient arts of Nigeria, Fagg, (1963: 25) regards 
the dwarfs as the finest of all Benin bronze figures, noting that "they are so naturalistic 
that it is difficult to find points of style by which to date them, though an early date
'I wish to express my profound gratitude to the State of Baden Wattemberg, Germany and Akademie 
Schloss Solitude, Stuttgart for providing the funds to enable me travel to Vienna, an opportunity that 
exposed me to direct contact with these interesting dwarfs.
IBADAN UNIVERSITY LIBRARY
122 The Nigerian Field
seems most likely." But he questions the issue of their origin by saying, "It is 
conceivable that they are Ife works." The most naturalistic art works in Southwestern 
Nigeria are from Ife and Owo, two towns that have had close historical and cultural links 
with the Edo. In my opinion, however. Dark (1973: 97) states the most cogent evidence 
towards an understanding of the dwarfs. To him, the fact that dwarfs are well integrated 
in Benin culture as palace jesters appears more important than issues of their real origin. 
He makes the interesting point that not only is one of the dwarfs (dwarf B) more 
generalized and reminiscent of the Attah of Igala’s mask (plate 3), but that it may have 
even been contemporaneous with it. That, according to him, would place it in Oba 
Esigie’s time—c. 15th/16th centuries.
The other dwarf (dwarf A), Dark continues, seems to be the portrait of a particular 
individual, perhaps earlier than dwarf B. But he also comments on its naturalism, a trait 
that has been associated with earlier Benin art. Dark then draws attention to a bronze 
dwarf head in the Museum fiir Volkerkunde, Berlin (Plate 4) that according to him is 
even more subtly modeled. Paying especial attention to the treatment of the ears of this 
head, Dark describes it as naturalistic and exceptional which leads him to suggest a 
possible non-Benin origin. However, instead of pursuing this possibility, he prefers to 
cling to a Benin source, concluding that if the works were from Benin they would have 
been cast at a time when Benin arts were under great stimulation.
This paper addresses the issue of the origin of the dwarfs. The question of the 
origin of the Benin works taken away from Benin City in 1897 will be examined and the 
possibility that the dwarfs, or at least one of them, could have originated from outside 
Benin culture. One thing that is clear, is the association of dwarfs or jesters with 
royalty. Basically, this is something that cuts across many societies so any of the art 
producing centres in the region with an established monarchy could have produced them. 
According to Ben-Amos (1980: 29), quoting Dapper, the figure of the dwarf represents 
a member of the Oba’s entourage. In addition, this initiative also considers the question 
of style as it relates to or departs from the pervading art style in the region, especially 
as manifested in bronze sculpture. It considers stylistic affinities and uses them in 
addition to oral historical connections to suggest an alternative place of origin.
Southwestern Nigeria is the heartland of Nigeria’s traditional arts. Artistic traditions 
in various media proliferate throughout the region. In Benin, as in Ife, Owo, the lower 
Niger area and Igbo-Ukwu, many artifacts of high artistic value and antiquity has been 
discovered. In his paper titled: "The Missing Millennium? From Nok to Ife and 
Beyond" Willett (1986) addresses the connections between Nok, the earliest art tradition 
in Nigeria (dated by thermoluminescence to about 2,500 B/P), and the other art traditions 
of Southwestern Nigeria. Despite the established chronological gaps, he manages to 
package all the art traditions of Southwestern Nigeria together and establishes some 
relationship between them. But this does not make them lose their uniqueness. Each of 
these art traditions is still recognised on its own merit, with peculiarities of style and 
form. Style has indeed played a very important role in identifying the arts of
IBADAN UNIVERSITY LIBRARY
Two bronze dwarfs 123
southwestern Nigeria.
The ancient arts of Ife are the oldest in the region. They comprise sculptures in 
bronze, terracotta and stone in the most naturalistic style ever seen in traditional Africa. 
Oral historical studies from, the town reveal it as a primary Yoruba town of unrivaled 
antiquity. No wonder therefore that its influence is said to cover a substantial part of the 
region. East of Ife is the town of Owo where art that shares a close stylistic affinity with 
the Ife works has been found. The oral traditions collected from there confirm a close 
relationship with Ife. Indeed this relationship extends to Benin. The art of Benin, Ife 
and Owo therefore are closely related stylistically and may even be contemporaneous. 
The art styles from the three centres support this.
Fagg (1963) coined a phrase to designate bronze works, which belonged to neither 
Ife nor Benin but shared some similarities with them, referring to them as products of 
the "Lower Niger bronze industry". Noting that Nigeria’s reputation in the world of art 
rests largely on the Ife/Benin tradition, Fagg believed that in years to come the Lower 
Niger bronzes would be recognized by Nigerians and by the world as a more original and 
distinctive contribution to the enrichment of human experience.
From the foregoing, it is clear that a solid attempt has been made to ally the major 
art traditions in Southwestern Nigeria. The aim of this article is to consider the dwarfs 
in the framework of the other arts of the region with a view to examining possible 
connections. But it is of importance to take a close look at Benin art before studying the 
provenance of specific objects.
Although Benin art first gained international popularity shortly before 1897 when 
through trade links it began to reach Europe, Benin’s early interaction with Europe shed 
light on the people and culture. In Paris, France, then regarded as the art capital of the 
whole world, an artistic revolution was going on. The revolution, which was taking 
place at the beginning of the century (Rhodes, 1994: 111), sought to break away from 
the rigidity into which the conventions of naturalism were straight-jacketing artists. 
Against this background, contact with African art gave the desired impetus—European 
avant-garde artists recognized a freedom in the African artist’s approach to form which 
they wished to emulate. They adopted African art in a kind of revolution and thus began 
the recognition of African art as art in Europe.
The sack and looting of Benin in 1897 assured an abundant supply of Benin art 
works to Europe. Members of the British army sold them shortly after their return to 
England. The art objects of the so-called underdeveloped and uncivilised world had 
become something of more than just curiosity value. They began to be avidly collected. 
Many of them found their way to central Europe particularly, Germany, Austria and 
Holland (Pogoson, 1997:31). They now adorn countless museums abroad where they 
are presently ignored and relegated to the background because of poor funding and 
dwindling interest in African art as investment.
Ironically, there are far fewer Benin works in Nigeria, the environment that created
IBADAN UNIVERSITY LIBRARY
124 The Nigerian Field
iSigg
Plate la . Above right: Dwarf 
Plate lb  Right: detail Dwarf 
Plate 2. Above left: Dwarf
IBADAN UNIVERSITY LIBRARY
J
Two bronze dwarfs 125
them, than in German ethnographic museums. The result of this anomaly is that Nigerian 
scholars seldom subject the works to rigorous study. Although much work has been 
carried out on Benin art by early foreign scholars, such works are basic background 
materials, which even though important, lack depth and fail to show the association with 
other cultures that will throw desired light on the history and art history of its producer 
culture. However, with increased access to Benin works of art, there is a desire and 
need for more in-depth, comparative and analytical studies of the works by scholars 
equipped with the right combination of tools and sensibilities to handle them not in 
isolation, but as units or composite parts in the corpus of Nigerian art.
Benin art appears to be bounded by certain conventions, as are the traditional arts 
of other parts of Nigeria. Adepegba (1995:29) identifies certain characteristics of the 
Benin bronze artist’s representation of human form. He believes that the treatment of 
the nose and lips is related to a carving tradition. Truly I do not think that Benin art 
falls into that category of African art which displays implicit and intrinsic artistic 
freedom in its use of forms. Was Benin art not constrained by styles and techniques 
learnt through the apprentice method?
Ife art from the southwestern part of Nigeria is perhaps the easiest to describe. It 
is characterised by a naturalism which prompted Frobenius (1910), an early investigator 
of Ife and the surrounding environment, to think that the works could not have been the 
product of the town but rather of a lost ancient Greek colony. The arts of Ife have since 
then been explained and most appropriately situated by the foremost Ife scholar of our 
time, Frank Willett. His numerous publications on Ife art are synthesised in his famous 
book, Ife in the History of West African Sculpture. Ife is the oldest of the art traditions 
in the Southwestern part of Nigeria. However, all of the arts of the region have been 
linked not only by oral traditions and history, but also by a pervading stylistic affinity 
(Willett, 1986).
Let us now return to the dwarfs in the context of the styles of Ife and Benin art and 
other sub-styles from within the vicinity. The two dwarfs that are now in the collection 
of the Museum fur Volkerkunde in Vienna were taken from Benin after the Punitive 
Expedition. In their present location they are referred to as “court dwarfs” meaning that 
these bronzes were displayed in the court of the Oba of Benin. I think that they are the 
representations of real dwarfs that once lived in the palace of the Oba of Benin. As has 
been noted earlier, people suffering from achondroplasia are common in the palaces and 
courts of kings in Western as well as in African cultures. Held and Posner (1979:182) 
in their study of Diego Velazquez, a Spanish painter of the 17th/18th century, noted the 
representations of the dwarfs and jesters that Phillip of Spain, like many seventeenth- 
century princes, collected for amusement. A dwarf is still known to reside at the palace 
of the Alaafin of Oyo, ostensibly for the amusement of the king and because it would-be 
difficult for him to survive with such an obvious disability. But I consider more 
plausible another point: that they possess extraordinary powers which could be useful for 
the protection and well being of kings.
IBADAN UNIVERSITY LIBRARY
126 The Nigerian Field
w
§ j  *  |
1 ■ |
: ,
Plate 3, above left: Attah of Igala
Plate 4: above right: Dahlemhead 
Plate 5: right: man from Owo
IBADAN UNIVERSITY LIBRARY
Two bronze dwarfs 127
Dwarf A (plate 1) has an 
amoeboid shaped head, a true 
representation of one of the 
types  of  de f o r mi t i e s  
a s s o c i a t e d  w i t h  
achondroplasia. As has been 
pointed out by Held and 
Posner (1979), dwarfs were 
regarded as barely human 
and their deformities seen as 
evidence that they had been 
denied God’s grace. The 
sculptor who created dwarf 
A, showed keen powers of 
observation as evidenced in 
the modeling of the face, 
which achieves resemblance 
to the actual. He did not 
make a caricature of the 
dwarfs face but endowed it 
with dignity and composure.
Th i s  t r u e - t o - l i f e  
naturalism is more commonly
found in the Ife than in 
Benin. The hair of dwarf A Terracotta head from Obalara s land, Ife
is represented by cross-
hatching, another feature which Eyo and Willett (1980:199) have noted in the side bums 
of the frowning man from Owo (plate 5) which they say combines both Benin and Ife 
elements. I also see a close resemblance between bronze dwarf A and an Ife terracotta 
piece with furrowed brow (Plate 6) from Obalara’s land in Ife that has been noted by Eyo 
and Willett (Eyo and Willett, 1980).
The face of dwarf A also shows a suppleness characteristic of Ife naturalism. The 
nose and mouth are represented in a manner typical of the more naturalistic of the Ife 
sculptures. An interesting aspect of dwarf A is the fact that he is adorned on the neck 
and wrists with necklaces and bracelets as is common in the arts of Ife. These point to 
both a cultural and artistic relationship with Ife art.
In his study of the representation of ears in Benin and Ife art, Willett (1967: 162- 
163) points out at least eight different types from both cultures. Of the eight types, the 
first two, which incidentally are from Ife, are the most naturalistic. The other six 
represent details of ears as they are represented in the various artistic periods of Benin 
an (Fagg, 1963). It is intriguing to note that the ears of dwarf A share a very close
IBADAN UNIVERSITY LIBRARY
128 The Nigerian Field
stylistic affinity with the ear ”g" as illustrated by Willett. According to him, this form 
of ear was taken from a Benin bronze mask of the Oduduwa masquerade. A ceremony 
associated with this masquerade celebrates the close links between Benin and Ife. The 
seven dancers in the Oduduwa performance are, according to Ben-Amos (1980: 93), 
representatives of two great Osun specialists, Uwen and Ora, and their entourage who 
accompanied Oranmiyan from Ife.
With only half an inch difference in height and about five pounds in weight, dwarf 
B is clearly less naturalistically rendered. As a result of this departure from naturalism, 
he seems closer to Benin works than dwarf A. In the representation of the nostrils, eyes 
and lips, a point that Adepegba has discussed as culminating in the stereotypicality of 
Benin art, this dwarf is reminiscent of the Benin corpus. But although the ears of both 
dwarfs are similar, the representation of the hair and beard in dwarf B is rigid and 
stereotypical of the art of the middle period of Benin. Unlike Dwarf A, who is adorned 
with neck beads and armlets, dwarf B has just one strand of beads around his neck and 
a string holding what appears to be a charm. The limbs of both dwarfs are similar, but 
an outstanding feature worthy of note is the representation of their feet, which includes 
striking details of the toenails and protruding heels.
The marked difference between the two dwarfs lies in the representation of the head, 
an indication that the works could have come from different hands. A dwarf head (plate 
4) currently in the collection of the Museum fur Volkerkunde in Dahlem, Berlin, 
illustrated as Tafel 65 in von Luschan’s influential book, possesses a close stylistic 
affinity with dwarf A although a substantial part of the head is now broken and lost. The 
Dahlem head, with its jutting chin also has facial features, eyes, nose and ears, closely 
related to dwarf A. Even the hair is represented by cross hatching as well and there is 
also an astonishing resemblance between both faces. Just as in dwarf A, the eyes of the 
Dahlem dwarf head are deep set and so is the bridge of the nose (Duchateau, 1994:73). 
His lips are as thick and supple as they are in dwarf A. The ears are no less similar and 
both works could have come from the hand of the same Ife artist. Ife is the home par 
excellence of compelling naturalistic art in southwestern Nigeria.
That both dwarf figures and the Dahlem head are found in Benin should not detract 
us from seeking their origin outside Benin, particularly in Ife. I believe that this even 
strengthens the case for an outside Benin manufacture for both naturalistic dwarfs, dwarf 
A and the Dahlem head. Dwarf B rendered in less naturalistic Benin style could have 
been produced after the other two examples. In my opinion, based on the stylistic 
presentation of the works and their affinity to the usual Benin and Ife art styles, dwarf 
A and the Dahlem head are of Ife origin, while dwarf B is undoubtedly of Benin 
manufacture.
Thermoluminescence dates obtained from dwarf B at the Rothgen Forschungslabor 
in Berlin place the work at about 1324 (Duchateau, 1994:73). But according to Fagg, 
it is the naturalism of the works that make such an early date possible (Fagg, 1963: note 
25). It was Fagg who propounded a classification of Benin art based on, among other
IBADAN UNIVERSITY LIBRARY
Two bronze dwarfs 129
factors, its proximity to naturalistic representation, and therefore to Ife. According to 
Fagg, the more naturalistic works of art from Benin can only belong to the early period 
of Benin art. This is because the art of bronze casting had just been introduced to Benin 
from Ife and the artists either produced the works after Ife models or they were indeed 
produced by the Ife master who was sent to teach the art of brass casting in Benin. The 
full figure of a robed Ooni (Egharevba, 1968) found in the palace of Benin is believed 
to be the work of Igueghae, the patron deity of the Benin bronze casters whom oral 
tradition informs us was sent from Ife to Benin to teach the an of bronze casting during 
the reign of Oba Oguola around 1400 A.D. Fagg doubts that any other full figure 
sculptures were made during this period. But the two naturalistic dwarfs are, according 
to him are as naturalistic as any Ife works (especially in one case, that of dwarf A) and 
so should probably be placed in this period. With the discovery of Ife-type art in the 
lower Niger area, Benin-type art in Idah and Ife, and Benin/Ife-type art in Owo, it 
becomes difficult to assume that all the works of art found within a particular culture 
must be of local manufacture. Therefore, arising from the discussion and with due 
cognisance of the established fluid interchange of cultural materials between Ife, Benin 
and elsewhere in Southwestern Nigeria, one can conclude that the more naturalistic of 
the bronze dwarfs (dwarf A and the Dahlem head) are more confidently of Ife origin, 
while the stylized dwarf B is of Benin manufacture.
REFERENCES
Adepegba, C.O. (1995) Nigerian Art: Its Traditions & Modern Tendencies, Jodad Publishers, 
Ibadan
Ben Amos, Paula (1980) The Art of Benin. Thames and Hudson
Dapper, Olfert (1668) Nawkeurige Beschrijvinge der Afrikaensche Gewesten, Amsterdam
Dark, Phillip J. C. (1973) An Introduction to Benin art and Technology. Oxford Clarendon 
Press
Duchateau, Armand (1994) Benin: Royal Art of Africa from the Museum fur Volkerkunde. 
Vienna. The Museum of Arts, Houston and Prestel.
Egharevba, Peter (1968) A Short History of Benin. University of Ibadan Press (Fourth 
Edition)
Eyo, Ekpo and Willet, Frank (1980) Treasures of Ancient Nigeria. Alfred Knopf, New York 
in Association with the Detroit Institute of Arts.
Fagg, William (1963) Nigerian Images. London
Frobenius, Leo (1910) The Voice of Africa. Vols. 1 & 2. Benjamin Bloom Inc.
Held, Julius and Posner, Donald (1979) 17h and J£rh Century Art : Baroque Painting, 
Sculpture, Architecture Prentice-Hall Inc. N.Y.
Luschan, Felix von (1919) 1968 Die Altertumer von Benin. Reprint (3 Vols. in 1) New York: 
Hacker Art Books.
IBADAN UNIVERSITY LIBRARY
130 The Nigerian Field
Pogoson, Ohioma (1997) Reflections on African Art: Benin and Europe. Rogue: Art Joumal- 
Damistadt\Frankfurt.
Rhodes, Colin (1994) Primitivism and Modern Art. Thames and Hudson, New York
Roth, H. Ling (1903) 1968 Great Benin: Its Customs. Art and Horrors. Reprint: New York: 
Barnes and Noble
Schweeger-Hefel, Annemarie (1948) Afrikanishe Bronzen, Vienna
Willett. Frank (1986) A missing millennium? From Nok to Ife and beyond. Arte in Africa: 
Realta e Prospettive nello Studio della Storia delle Arti Africane, ed. Ezio Bassani, 
Edizio Panini, Modena.
Willett, Frank (1967) Ife in the History of West African Sculpture. Thames and Hudson
UNITED KINGDOM BRANCH  
WILDLIFE CONSERVATION IN WEST AFRICA II
A great deal of water has flowed under the bridges since the last, highly successful 
seminar with this title was organised by the Nigerian Field Society, United Kingdom 
Branch, and WWF (UK) at the Royal Botanic Gardens, Kew, in September 1993. The 
Proceedings were published in that year as NFS (UK) Occasional Paper, no. 1.
The intention now is to review the situation and to assess gains and losses since that 
time. Every effort will be made to contact the original speakers and exhibitors, in an 
attempt to persuade them to return and give their views on progress—positive or 
negative—since they delivered their papers. Matters will not be confined to these, 
however, and reports of new initiatives or areas for concern will also be welcome.
With all due thanks to Dr. Richard Burge and Dr. Nick Lindsay, the Director 
General of the Zoological Society of London and the Curator of the Whipsnade Wild 
Animal Park respectively, the Society is most generously making facilities available at 
Whipsnade for the seminar on:
SATURDAY 9th AND SUNDAY 10th October 1999
Planning for such events needs a considerable lead-in period and details of the 
programme and administrative arrangements will be issued in good time. In the 
meantime, all concerned should make a firm note of the date. This notice will be 
distributed as widely as possible to known interested parties who are kindly requested to 
advertise the seminar among their contacts. Suggestions for speakers, offers of exhibits, 
contact addresses and so forth will be more than welcome to:
Paul Tuley, Chairman, NFA (UK Branch)
43 Mount Place, The Mount, Guildford, Surrey, GU2 5HU
Tel/Fax: 01483 454725
E-mail: gensec .taauk@btinternet.com
IBADAN UNIVERSITY LIBRARY
EDITORIAL BOARD
R 0  Adegboye (Chairman D U U Okali 
Pat Oyelola (Editor) J 0  Moody
Chris Bankole E A Odu
A Egunyomi L O Ojo
I I Ero c  Olaniyan
J Olawoye
Volume 63  Parts: 3 - 4  O C TO BER 1998
CONTENTS PAGE
Editorial 89
Corrigenda 90
Olumo Rock History and archaeology James B Odunbaku 91
Olokemeji Forest Reserve history, a postscript Brian Hopkins 114
The origin of two bronze dwarfs O I Pogoson 121
Rock-boulder landslide in Isan-Ekiti Bisi Durotoye 131
Forest tree diseases in Nigeria EN Ekpo  139
* Planting exercise . 148
Malacostracan species inhabiting water hyacinth in Benin River J.K. Ekelemu 149 
Built-in orderly organised knowledge 158
Book reviews 159
Hail Orisha!
The useful plants of West Tropical Africa, ed. 2, vol. 4, Families M-R 
■ Travels in the white man’s grave
. *  For women and the nation Funmilayo Ransome-Kuti of Nigeria 
Dial-a-sophist 166
Obituaries 167
John H. Elgood
Charles Bruce Powell -
ISSN 0029-0076
IBADAN UNIVERSITY LIBRARY