ISSN 0 0 0 2 - 0 0 8 7 VOLUME XIV, NUMBERS 1 & 2, 1990IBADAN UNIVERSITY LIBRARY AFRICAN NOTES Journal of the Institute of African Studies University of Ibadan Volume XIV, Nos 1 & 2 1990 E d ito r ia l B o a rd 'DELE LAYIWOLA Editor OHIOMA POGOSON Associate Editor AIBINUOLA OSUNWOLE Associate Editor OLUFEMI OLAOBA Administrative Secretary COMFORT FALADE Sales Coordinator Institute of African Studies, University of Ibadan IBADAN UNIVERSITY LIBRARY Contents Editorial 'Dele Layiwola...................................................................................................................................... v Book N ew s........................................................................................................................................ vi Main articles Metaphysics and Magic Consciousness: Towards a Theory of Combat Literature in Africa and the Diaspora Bayo Ogunjim i...................................................................................................................... 1 A Study of Some Pre-Colonial Inter-Group Relations in Nigeria: A Theoretical Framework P. A. Oguagha......................................................................................................................... 10 The Use of Ethno-Archaeology in Tiv Culture History S. Oluwole Ogundele .............................................................................................................. 23 The Significance of Beliefs and Healing in Yoruba Culture S. A. Osunwole.................. 30 The Osuru Festival: An Indigenous Solution to Crime Control J.D. O j o ................................................................................................................................. 37 The Question of Outside Origins for the Esie Stone Carvings Ohioma Ifounu Pogoson............................................ 42 The Colonial Experience and its Asides: Dance Performances as Historical Indices in East and West Africa 'Dele Layiwola . ....................................................................................................................................... 52 The Ata Dynasty in Aiyede Kingdom — C. 1850-1880: An Experiment in Traditional Political Culture Olaoba Olufemi Bamigboyega ................................................................................................. 62 Language and the National Question in Nigeria Ayo Bamgbose ..................................................................................................................................... 70 Aspects of Discourse Structure in Newspaper Cartoons: A Semantic-Pragmatic Analysis Lekan Oyeleye and Ayo A y o d e le .............................................................................................. 81 Demographic Preconditions for Polygamy C. O. A. Sowunmi . . .............................................................................................................. 90 Three Perspectives of Lightning: Traditional, Bulk and Microphysical E. O. Oladiran......................................................................................................................... 92 i IBADAN UNIVERSITY LIBRARY Yoruba Artwork, An Archaeological Perspective B.'Agbaje-Williams ...................................................... 105 A Preliminary Guide to Documentary Resources on African Traditional Medicine O. O. Akhigbe and C. F. A d ed e ji.............................................................................. 114 Research Notes Ethnographic Method in Social Anthropology: Fieldwork Experience among the Egun of Badagry Alaba Sim pson ...................................................... 154 Book Review Soyinka and the Poetry of Power Segun A dekoya ........................................................................................................................... 161 IV IBADAN UNIVERSITY LIBRARY THE QUESTION OF OUTSIDE ORIGINS FOR THE ESIE STONE CARVINGS Ohioma Ifounu Pogoson Institute of African Studies University of Ibadan Ibadan, Nigeria THE most intriguing aspect of the study of the Esie present owners and among scholars. The tradition stone carvings is the question of their origin. Their explains that certain strangers, who planned to pass discovery, in the obscure northern Yoruba town of through Esie, sent a message to the Elesie or ruler of Esie in 1933, has aroused much curiosity and the town that they intended to visit the town. They speculation. instructed that the king and his subjects should The people of Esie, who claim ownership of the remain in their homes until their arrival. But the carvings, have adopted them as objects of Worship, strangers gave no specific arrival date. The Elesie though there are no established direct ancestral links and his subjects are reported to have waited for the with the images. The oral traditions of the origin of visitors for many days and become impatient. The the images which have been gathered from the town Elesie then decided to take a quick trip to his okra are numerous, but the most popular variant has been farm to tend his crops. Unfortunately, the strangers described as implausible.1 arrived while he was away. The strangers had The images, carved in a type of soft stone called actually passed by and had even greeted the Elesie steatite, were discovered packed together in a farm on their way into the town, without the Elesie in an haphazard manner suggestive of a hurried recognizing them. When he realized who the passers abandonment.2 The way and the manner in which by were, he quickly went home; but the visitors the stones were discovered have contributed knew that he had flouted their instructions because enormously to speculation on their producers. Some a tiny piece of okra clung to his beard.4 scholars have described the images as enigmatic and The strangers, angered by the Elesie's one of the greatest mysteries of Africa.3 A stylistic disobedience, said that they had come to deliver a analysis of the stones which may have given some message from God which would have brought great indication of the origin of the images was not happiness to the town. Instead, they prayed that Esu, attempted at the early stage. It is only recently that the messenger to all the gods, should put a mark on analytical studies, employing several approaches, the. Elesie’s forehead as a punishment. God, have started to be used. However, in these studies, however, considered that they had exceeded His answers to the question of the origin of the images instructions and intervened. He made the strangers have been sought outside the area where they were kneel down and turned them to the stone images found. This paper aims at re-examining the origin of which are now the Esie carvings. the carvings vis-a-vis the possibility of a local This legend seems contradicted by the reverence origin. with which the Esie people now worship the stone Milbum was the first to write an article on the images.5 The possibility of this tradition having Esie stone images. He recorded a tradition of origin some hidden symbolism cannot be ruled out which is, up till now, the most popular among their completely, but the true meaning of this unlikely 42 IBADAN UNIVERSITY LIBRARY THE QUESTION OF OUTSIDE ORIGINS FOR THE ESIE STONE CARVINGS 43 explanation is yet to be found. The images do not Other attempts to solve the mystery of the origin give credence to the story of the kneeling strangers of the Esie stone images have shown that the oral turned into stone;6 only a few of them are sculpted history of the present inhabitants of the town is of kneeling or standing; most of them are seated. little help. The unusually large number of the In a variant of this tradition also recorded by sculptures makes modest stylistic or formal analyses Milbum, the strangers, in their anger, are said to difficult. In addition, the discovery of more have headed for Okodo, now identified as a previous naturalistic art works at Ife in the 1930s diverted a site Of Esie. On getting there, they are said to have lot of attention from Esie. It was not until 1959, dumped the images and left.7 However, the site when Fagg examined the images with a view to where the images are presently housed, which is also finding out their origin, that any further step was where they were originally discovered, is not the taken to study the images. He identified the forms, location of abandoned Okodo. Only a few stone particularly the style of a peculiar head (plate 1) as carvings, though in related styles, have been found naturalistic, with great affinities to some Ife stone at Okodo.8 sculptures, and therefore, suggested Ife origins for Milbum, unsatisfied with the local traditions of the images.12 origin, chose to ignore them and decided to examine the images themselves. Looking at the terracotta and stone carvings from Ife illustrated in Leo Frobenius', The Voice of Africa, and wood carvings from Yorubaland, he concludes that although the Esie images are not as fine as the Ife art works, they are sufficiently good to have been produced by the descendants of the Ife artists. Daniel, essentially noting the work of Clarke, has also made some notable contributions. He has come up with a tradition which associates the images more strongly with Ife. The tradition reveals that 440 idols were removed from Ife by the founder of Ikole Ekiti who is closely related to the Elesie.9 However, no such large number of idols have yet been found at Ikole and the number of idols mentioned in the tradition are far less than the stone carvings in Esie. This led Stevens to suggest that the reference to ‘idols’ in the tradition may have meant orisa or gods, of which there are about 400 in Ife cosmology.10 Like Clarke, Daniel also studied the images themselves. He noted certain features about them which led him to conclude that the images were the products of a country where various influences converged.11 The features of the images which advised his conclusion are cultural elements, which are more readily diffused than stylistic elements. Plate 1. The aberrant Esie bead painted oat by Fagg African N otts. VoL 14. Nos 1 A 2. 1990 IBADAN UNIVERSITY LIBRARY 44 OHIOMA IFOUNU POGOSON He pointed out similarities between the Esie stone But the bases upon which he concludes, if head and the Idena and Ore stone figures at Ife, carefully examined, raise some pertinent queries. especially in the treatment of features such as the The reports of Clapperton and the Lander brothers eye borders and ears. He substantiates these on Old Oyo are not specific about the use of stone in resemblances by noting a similar Ife figure which the art works to which Stevens refers. Berto and Mauny illustrated in 1952. This stone Archaeological studies on Old Oyo are yet to figure called Alafere or Moremi is, according to confirm the use of stone for similar purposes. In Fagg, representative of a degenerate form of stone fact, their reports are specific about woodcarvings in sculpture that was being carried out at Ife up till Old Oyo. On the issue of certain common cultural early this century. He placed such degenerate forms elements, it has been pointed out that such cultural of stone sculptures, which include the Esie ones, elements are not common only to Old Oyo. These between the classical period of Ife art and modem institutions, ilarjl, iyalode and magf ra, are also times.13 It appears, however, that his conclusions common in other parts of Yorubaland.15 As regards were rather hasty as no in-depth stylistic analysis of the issue of the source of raw materials, there Ife or Ife-related stone sculptures or the Esie stone appears to be some bias on Steven's part, for he images was carried out. does not search for material south of Esie. His Adepegba supports the belief of an Ife origin for reason for leaving out the southern parts is that the the Esie sculptures. His observation is based on the Ife area, south of Esie had been well investigated, similarity of the facial marks on the images to those and no a large quarry found from which the amount on ancient Ife sculptures. He then noted the history of stone used for the numerous Esie carvings could of the dispersal of people from Ife towards northern have been obtained. He was evidently assuming that Yorubaland and concluded that the Esie stone images only one large quarry could have produced the were made or carried to Esie by early immigrants stones from which the images were carved. from the direction of Ife, if not from Ife itself. Going by these reviews, there is evidence that Adepegba, like many scholars before him, succumbs many of the writers, except Stevens, are strongly to the belief of the primacy of Ife among some inclined towards an Ife connection, if not an Ife Yoruba people, and the antiquity of its art. origin. The question, therefore, is why should the Previous to Adepegba's suggestion, Stevens had origin for the Esie carvings be sought outside Esie assigned an Old Oyo origin to the stone images. In when there are no doubts about the local origin of Steven’s view, the images could only have come other arts of southwestern Nigeria, which were from Old Oyo, some area under its immediate found in other extant towns like Esie. The Tsoede influence, or one of-the neighbouring towns occupied bronzes, for example, which were found scattered in by refugees from Old Oyo.14 This view is based on villages on the Niger river banks, are historically the reports of Clapperton and the Lander brothers connected with the Nupe16 who own and have lived who reported on the artistie richness of the ancient in that area for a fairly long time.17 capital shortly before its fall. His conclusion of an Since available information on the origin of the Old Oyo origin is substantiated by certain cultural Esie images is unsatisfactory, there is a need tb features noted in the Esie stone carvings which he examine the migratory history of peoples around that thought were exclusive to art works from Old Oyo. region and the images themselves — their formal and These, as well as the indication of the presence of stylistic connections with the arts of southwestern soapstone in Upper Ogun in the geological map of Nigeria — with a view to solving the historical Nigeria and the oral history of Esie people, appear question of their origin. This, it is hoped, will to have led him to this conclusion. African Notes, Vol. 14, Nos 1 A 2, 1990 IBADAN UNIVERSITY LIBRARY THE QUESTION OF OUTSIDE ORIGINS FOR THE ESIE STONE CARVINGS 45 confirm or disprove the outside origins already around the town also supports the idea of a local ascribed to the carvings. origin. There are indications from the review earlier in A certain characteristic which binds almost all this paper that the Esie stone carvings are closely artwork from southwestern Nigeria, including the related to some other ancient art traditions of Esie stone carvings, is the manner in which the eyes southwestern Nigeria. Such relationships, often are depicted. They are represented as pronounced cultural, tend to confirm the historical contiguity of convexed eyeballs surrounded by distinctly rendered groups and peoples within that region and, indeed in lids (plate 2). This special attention paid to the eyes the whole of southwestern Nigeria. However, the also characterizes modem Yoruba woodcarvings. In use of stylistic links, which are more desirable the whole of the region, the only exceptions are the because of their reliability and validity, to confirm Oyo and Oyo-related sculptures, particularly in such relationships has not been given much attention. The cultural affinities shown by the stone carvings within the region include the use of beads, dress, and face and body markings. This suggests, first of all, that they belong to a cultural continuum. In African art, strictly religious forms were often typical and similar. The Ife works, seemingly portraits, do not seem to have been made for religious purposes. Similarly, the Esie carvings, which are not typically the same, appear to have been made for and by a large community. Considering their number, the Esie images might have been made to serve specific emergency purposes, although full figures appear to be portraits of individuals. Most of them are depicted with weapons, such as cutlasses, and bows and arrows in quivers. Traditionally in Nigeria, these weapons, are more commonly associated with northerners than with the Yoruba. In the past, the southwestern region of Nigeria was notorious for consistent warfare between the Nupe and the Yoruba.18 The uniqueness of the images makes me doubt the outside origin often ascribed to them, particularly as the local origins of other Yoruba stone carvings are not in dispute. Considering the heavy weights of the images, it is doubtful Hate 2. An Owo piece showing the style of the eye typical of whether they were moved over any great artwork from southwestern Nigeria distance. The discovery of soapstone in and African Notes, Vol. 14, Nos 1 A 2, 1990 IBADAN UNIVERSITY LIBRARY 46 OHIOMA IFOUNU POGOSON terracotta and metals. There is a marked difference Even though it is now possible to study the in the representation of the eyeballs. The eyeballs various art traditions of southwestern Nigeria are bulbous with horizontal slits across (plate 3). separately, it is difficult to understand them thoroughly without a broad historical knowledge of the region which explains the movements of peoples and groups and even art objects. Most of southwestern Nigeria is inhabited by the Yoruba, who claim descent from Ife, from a common ancestor, Oduduwa. The traditional history of Benin also links its royal dynasty with Ife.19 The Nupe, the northern neighbours of the Yoruba, have been interacting with them for a very long time. Therefore, what we find is that many of the inhabitants of southwestern Nigeria are in one way or another related to or have historical connections with the Yoruba. Until new data proves otherwise, Ife art is the oldest in southwestern Nigeria. The arts of both Benin and Nupe are closely linked with Ife. Stylistic differences exist among the Nupe bronzes. One of the bronzes, the seated Tada figure, is incontrovertibly linked with Ife on a stylistic basis.20 The figure is even thought by some scholars to have been the model used for the production of the Ife bronze sculptures.21 Although the possibility of a direct connection between Esie and Benin seems remote, some connections are being discovered. When Frobenius first came across four stone heads (plate 4) in the Esie style in Offe, he noted similarities between the heads and Benin bronzes of the Dutch pt*iod, especially in the dressing and ornamenting of the hair.22 In Plate 3. An Egbado pottery piece showing the Oyo type of eyes with slits comparing the styles of headgear in Benin and Esie, I have noticed some similarity between the headdresses in Esie, Ife and Benin (plate 5). Another feature which unites the Esie stone Since it is widely accepted among scholars that Ife carvings to artwork from the southwestern region is antedates Benin and Esie, perhaps it is not unlikely the symmetrical disposition and frontality which is that the similarities in the form of headgear in these common to most Yoruba art. The stylistic and traditions could be attributed to a common origin in cultural connection between Esie and other Yoruba Ife. The Benin headgear styles that are related in art suggests that all the art of southwestern Nigeria form to the Ife and Esie types are still worn by must have derived from a common source. certain important chiefs of the Benin court. African Notes, Vol. 14, Nos 1 A 2, 1990 IBADAN UNIVERSITY LIBRARY IBADAN UNIVERSITY LIBRARY 48 OHIOMA IFOUNU POGOSON The Nupe bronzes, numbering about ten, do not identical facial marks pattern displayed by one of the belong to a single style. Evidence is still lacking to Nupe bronzes (plate 6) and an Esie head (plate 7) prove that they were manufactured there. Aside from has caused some scholars to suggest that there may the fact that one of them, the seated Tada figure, has have been a link between the Nupe bronzes and the been both stylistically and chronologically associated stone images of Esie.23 In addition, Esie and with Ife bronzes of the classical period, scholars Nupeland are close to each other. The facial marks have hardly doubted their association with Tsoede, similarity is a good pointer to a local origin for the the founding father of the Nupe. The presence at stone images because it is only in Esie that similar Obo Ayegunle of ancient brass casting has also been markings are found. useful in tracing the movement path of the seated Tada figure from Ife to Nupeland. In some respects, the Nupe bronzes are like the Esie images. An Figure 7. An Esie stone head with the facial similar to that of the Jebba bowman The art of wood carving is believed to have been carried out in most communities in southwestern Nigeria. Wood carvings are indeed the most popular and numerous of die arts of the region and in the rest of sub-Saharan Africa. There is a very close resemblance between die manner of Plate 6. The Jebba bowman with facial marks similar production of these wood sculptures and the stone to those on an Esie head carvings of the region. It is thought that most extant African Notes, Vol. 14, Nos 1 & 2. 1990 IBADAN UNIVERSITY LIBRARY THE QUESTION OF OUTSIDE ORIGINS FOR THE ESIE STONE CARVINGS 49 African wood objects are less than one hundred and great interest in gruesome representations of fifty years old.24 Perhaps it was the need for diseases, Ife art seems to have been principally permanence arid the high cost of bronze, especially meant for the glorification of its monarchy. In spite among an artistically conscious and prolific people, of its close relationship with Ife, Owo equally shares that brought about the art of carving in stone, close affinity with Benin in its royal culture and especially in areas where the raw material was architecture.27 In fact, a typical Benin forehead available. marking has been found on one of the Owo Some stylistic similarities exist between the Esie terracottas (plate 2). Esie stylistic parallafe can also stone images and Ife art, particularly its stone be found in Owo, in the way certain fecag@dn piaocs sculptures. I have examined the stone sculptures of are represented, best exemplified fcsj ff$s woman Eshure, Brin®, and Igbajo, all within a hundred holding a cock (plate 8). This image, md :wo os’Sett kilometres radius - of lid for if stylistic relationship •'>.•» tic Esie stone images. My findings indicate cultural as well as a few stylistic similarities but a progressive abstraction in form as the tradition moved northwards. At Ijara and Ofaro, the northernmost occurrence of Yoruba stone sculptures, the forms of the works are the same as in Esie. Fagg has pointed out a particular stone head (plate 1) which he describes as an aberration in the Esie tradition and which he closely associates with Ife on the basis of style.25 The aberrant stone head and the few other naturalistic works in Esie perhaps provided the original images from which the others were inspired.26 A close study of the images reveals that there are a few stylistically related works elsewhere within the same region and even outside it. fhe few occurrences of stylistic affinities can be accounted for by available evidence which confirms that African artists at times copied from pre-existing images within the same cultural context and even from the outside. Archaeological efforts at Owo have revealed the presence of many terracotta art works which are closely related to the arts of Ife and Benin. There is a stunning resemblance between Owo and Ife art, especially in the degree of naturalism of the works. However, while Owo artists took Plate 8. The 'woman holding a cock' from Owo African N otts, VoL 14, N ot l A 2, 1990 IBADAN UNIVERSITY LIBRARY 50 OHIOMA IFOUNU POGOSON Ii3f6 it excavated by Eyo, are stocky and squat. The There is therefore, good resscn te believe mat tic treatment of the feet, particularly their being carved stone carvings were made in or around the area and cut out of the base, and their general posture are where they are presently found. However, much similar to the style of the Esie stones. These archaeological investigation remains to be done for examples are vivid indications of stylistic this view to be conclusive. relationships between the Esie stone images and Recent archaeological efforts confirm the other Yoruba art. In spite of the closeness of Owo availability of numerous stone outcrops in and art works, particularly the terracottas, to those of around Esie.33 Stevens, using only the geological Benin and Ife, they have not been ascribed any map of Nigeria, thought that the raw materials could outside origin. only have come from Old Oyo but overlooks reports From the discussion, it is conceivable that from laboratory tests stating that the stones used for except for the Esie stone images and perhaps the the carvings came from more than one source.34 Nupe bronzes, all other art works of southwestern From these arguments therefore, I do not find any Nigeria are of local origin. Esie town, where the justification for theories of an outside origin for the stone images have been found, like all other towns stone images. They were most likely produced in or where traditional arts have been found in around Esie. southwestern Nigeria, is extant. The major problems are the fact that the images display a myriad of features and facial markings which now appear to be End Notes non-Yoruba. The area where the stones were found 1. C.O. Adepegba, The traditional origin of the Esie is known to have been occupied at various times stone images and Yoruba oral history. In: Yoruba alternately by either Yoruba or Nupe forces until Images, M. Okediji, ed., Ife Humanities Society, Ue- about the 18th century when the Yoruba appeared to Ife, 1988. have taken firm control.28 The Nupe were driven 2. J.D. Clarke, The stone figures of Esie. Nigeria northwards towards Omu Aran. As a result, it has Magazine, 1934: 14.3. B.W. Andah, The enigma of stone sculptures in been thought by some scholars that the works may Yorubaland: The need for archaeological research. have been the products of a conglomeration of West African Journal of Archaeology 12, 1982: different peoples.29 111-117. Thermoluminescence dates got from Esie 4. S. Milbum, Stone sculptures at Esie, Ilorin Province. indicate a period about the 11th century A.D.,30 The Nigerian Teacher 8, 1936: 5. which scholars do not accept. There is evidence of 5. C.O. Adepegba. great waves of migration from Ife towards the whole 6. Olabanji, Olanrewaju and Onabajo, Pixie analysis of of northern Yorubaland. Old Oyo, the most the Esie stone sculptures. Paper presented at the prosperous of the Yoruba towns from about the 16th seminar on Material Culture, Monuments and to the 18th century, is believed to have been Festivals in Kwara State held at Esie on 6th and 7th populated by immigrants from Ife. Olowu, April, 1989.7. S. Milbum, 6. supposedly the first son of Oduduwa, founder of the 8. Personal communication with Mr. Seyi Hambolu, Yoruba race, is believed to have founded his own Resident Archaeologist at the National Museum, Esie, kingdom in northern Yorubaland after leaving Ife.31 1987. Mabogunje and Omer Cooper, in their search for the 9. F. Daniel, The stone figures of Esie, Ilorin Province, original Owu, his state, have suggested that most Nigeria. Journal o f the Royal Institute o f Yoruba towns of historic importance are situated in Anthropology 67, 1937: 49. northern Yorubaland32 where the stones were found. African Notes, Vol. 14, Nos 1 & 2, 1990 IBADAN UNIVERS TY LIBRARY THE QUESTION OF OUTSIDE ORIGINS FOR THE ESIE STONE CARVINGS 51 10. Phillips Stevens, The Stone Images ofEsie, Nigeria. 33. M.D. Hambolu, Archaeological input into the University of Ibadan and the Federal Department of mysteries surrounding the Esie soapstone images. A Antiquities, 1978: 52. paper presented at the seminar on Material Culture U . F. Daniel, 69. Monuments and Festivals in Kwara State at Esie on 12 William Fagg, On a stone head of variant style at the 6th and 7th April, 1989. Esie, Nigeria. MAN 59, 1949: 41. 34. Phillips Stevens, Jr. 73-77. 13. William Fagg, 41. 14. Phillips Stevens, Jr., 79-82. 15. C.O. Adepegba. 16. Ekpo Eyo and Frank Willett, Treasures o f Ancient Nigeria. Alfred Knopf in association with the Detroit Institute of Arts, 1980. 17. Ade Obayemi, States and peoples of the Niger Benue confluence area. In: Groundwork o f Nigerian History O. Ikime, ed., Heinemann Educational Books, 1980: 144-164. 18. Ibid. 19. Jacob Egharevba, A Short History o f Benin, Fourth edition, Ibadan University Press, 1968: 6-9. 20. Frank Willett, lfe in the History o f West African Sculpture, Thames and Hudson, 1967: 44. 21. Frank Willett. 22. Leo Frobenius, The Voice of Africa Vol.l, Benjamin Bloom Inc., New York and London, 1913: 318, and plates facing 322. 23. C.O. Adepegba, A survey of Nigerian body markings and their relationship to other Nigerian arts. Unpublished Ph.D thesis, Indiana University, Bloomington, 1976: 127. 24. C.O. Adepegba, personal communication, 1984. 25. Wilburn Fagg, 41. 26. Ohioma I. Pogoson, The aberrant Esie Head as model; An insight into the lfe origin of the Esie stone images. Paper presented at the Seminar on Material Culture, Monuments and Festivals in Kwara State at Esie on 6th and 7th April 1989. 27. S.A. Akintoye, The north east Yoruba districts and the Benin Kingdom. Journal o f the Historical Society 0f NigerUf\\-4). 1969: 530. 28. S.O. Babayemi, The Oyo, lfe and Benin relationship reconsidered. African Notes, 8(2), 1981. 29. F. Daniel, 49. 30. Phillips Stevens Jr, 43. 31. Akin Mabogunje and J.D. Omer-Cooper, Owu in Yoruba History, Ibadan University Press, Ibadan, 1971: 32-33. 32. Ibid. African Notes, Vol. 14, Nos 1 & 2, 1990 IBADAN UNIVERSITY LIBRARY African Notes, the Journal of the Institute of African Studies has been published in Ibadan since 1964. Initially African Notes was mainly concerned with on-going projects of the Institute, reporting and publicizing the various research activities of its research staff. Gradually the scope of the Bulletin broadened to include full length features articles on a wide variety of topics, from cultural anthropology to history and ethnomusicology. Back issues of various numbers are still available and can be obtained by writing directly to the Institute. African Notes is a forum for scholars and students who are interested in African culture and its continuing relevance to contemporary life. The Cover: male ancestor figure Origin: Baule, Ivory Coast e Medium: Wood IBADAN UNIVERSITY LIBRARY