Relevant bibliographies by topics / Wood-carving, Yoruba

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  1. Journal articles
  2. Dissertations / Theses
  3. Books

Academic literature on the topic 'Wood-carving, Yoruba'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Wood-carving, Yoruba"

1

Oligbinde, Samuel Rotimi. "Oduduwa: Through the Eyes of a Wood Carver." International Journal of Research and Scientific Innovation X, no. XII (2024): 607–20. http://dx.doi.org/10.51244/ijrsi.2023.1012046.

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History is the chronological and integrated account of relationship between man, event, person, time and places. The Yoruba history has long been at the mercy of the West due to the disinterest of the Yoruba people in the preservation and propagation of their Tradition, Culture and Religion. This has led to the publication of volumes of misinterpretations, flawed and shallow analysis of Yoruba religion for which the Yoruba could only be grateful. Oduduwa is one of the most important Yoruba Progenitor in the history of the Yoruba tribe in Nigeria. He was a powerful leader under whom the nucleus of the Yoruba race migrated into this land from their original home in Ile-Ife. He was a man of great leadership skills, understanding and repute. He is one of the most discussed Yoruba Deity with different point of view because various scholars have not come to a conclusion of who he was. Unfortunately, from our oral Yoruba traditional history there is no descriptive analysis of how Oduduwa looked like but, however, a sculptor in person of Lamidi Fakeye, a traditional wood carver, carried out a commissioned work of Oduduwa in wood carving, describing what he looks like through a story which surrounds the creation of the world. The paper intends to discuss the life of Oduduwa and a conceptual analysis of the wood carving executed in his form. The background data for this paper came largely from textbooks, articles, field work, documentation, archival records, and observation of physical artefacts.
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2

Oyinloye, Michael Abiodun, Afeez Babatunde Siyanbola, Evelyn O. Adepeko, and Adedola Olayinka Adeyemi. "Preserving Culture and Heritage of the Yoruba of Southwest Nigeria: An Ethnographic Study of the Twin Figure (Ere Ibeji)." SCHOLARS: Journal of Arts & Humanities 4, no. 2 (2022): 18–31. http://dx.doi.org/10.3126/sjah.v4i2.47419.

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Ere Ibeji is the carved wooden figure used to commemorate the death of twin(s) among the Yoruba people of Southwest, Nigeria. Existing literature focuses on myth, sacred and artistic values of this traditional wood carving while issues of protection and preservation of its tangible as well as intangible belief system are gradually fading out. This study aimed at sustaining the twin’s figuring carving tradition, which seems to be winding out due to civilization. The study examined available data surrounding twins’ birth, thereby advocating the preservation of the surviving ere ibejis. The findings of the study show a reasonable number of ere ibejis that have been taken outside Nigeria while others are in the national museums. The study recommends the retrieval of the ones taken abroad, the use of improved conservation methods in the museums as well as the promotion of cultural heritage management in Nigeria.
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Akande, Abiodun Olasupo. "“East-West, West-East”: Cultural Transmission and Exchange of Yorùbá Religious Wood-Carvings between Ọ̀yó̩, Sábẹ and Ifè̩-Ana". Yoruba Studies Review 4, № 1 (2021): 1–22. http://dx.doi.org/10.32473/ysr.v4i1.130027.

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In the early part of the 18th century, and at the height of its political power, the old Òyọ́ ̩ Empire established its hegemony over Sábẹ, Benin Republic, and new Yorùbá communities were founded in Sábẹ. Yorùbá communities also exist at Ifè̩-Ana in the Atakpame region of Togo. The Ifè̩-Ana Yorùbá were migrants from Ilé-Ifè between the 16 ̩ th and 18th centuries. In these new Yorùbá communities, the people continued with the worship of traditional Yorùbá religion and the use of wood-carvings for this worship. This study employs historical and ethnographic methods to establish the presence of traditional Yorùbá religion in Òyọ́ ̩, Sábẹ and Ifè̩-Ana. It then identifies and classifies extant Yorùbá wood-carving paraphernalia in the worship of Ifá, Ṣàngó, Egúngún, Gẹlẹdẹ, and Ìbejì that were transferred from Ò ́ yọ́ ̩ to Sábẹ and Ifè̩-Ana. The study observes a cultural interrelationship moving from east to west and west to east among the communities.
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Dissertations / Theses on the topic "Wood-carving, Yoruba"

1

Nour, A. I. "Developing African art : innovation and tradition seen through the work of two artists; Lamidi Fakeye and Ahmed Shibrain." Thesis, University of St Andrews, 2006. http://hdl.handle.net/10023/2620.

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The dissertation explores the work of two African artists: Lamidi O. Fakeye a Yoruba wood carver, and Ahmed M. Shibrain a Sudanese painter, as an exemplary development within African art during the second half of the 20th century. It examines their works through the sense of "tradition" as it is seen within the context of their cultures and their histories. It considers their works to be a reflection of their time, a hybrid art and a new tradition emerging within their respective cultures as a result of change in their societies. It argues against the notion that separates their art from their traditions and their histories based on the artificial barriers of "authenticity" in the literature on African art and the various categories that are related to it. It ponders on the contradictions and complexity that this situation has created and demonstrated that these categories negate historical realities. The dissertation is in two parts. The first part describes and analyses some of Lamidi's Christian and secular carvings. His work is placed in its appropriate historical perspective by revealing its close relationship to the carvings of his predecessors in terms of themes, design, content and clients. Innovation and change in his work through time and space is revealed. In the second part, the dissertation defines the connectivity of Shibrain's work to his tradition and its history, and that of his fellow artists who contributed to the development of a new trend in Sudanese art. It discusses their work on the basis of the 'idea' of art in Islam, their training and their heritage of decorative art and Arabic calligraphy. It argues that innovation, influence, borrowing and adaptation, are part of progress in art through the ages.
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Books on the topic "Wood-carving, Yoruba"

1

Heil, Axel. Yoruba. T. Koch, 1987.

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2

Adepegba, Kehinde. Contemporary Yorùbá wood carving: A case study of Bísí Fákẹ́ye. Aramanda Creations, 2007.

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3

Polo, Fausto. Encyclopedia of the Ibeji. Ibeji Art, 2008.

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4

photographer, Depienne Jean-Pierre 1952, ed. Ere ibeji: Dos and Bertie Winkel collection. Elmar, 2013.

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5

Walker, Roslyn A. Ọlọ́wẹ̀ of Isẹ̀: A Yoruba sculptor to kings. National Museum of African Art, Smithsonian Institution, 1998.

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6

Hans, Witte. Wereld in Beweging : Gelede-marionetten van de Anago-Yoruba = World in motion: Gelede puppets of the Anago Yoruba. Afrika Museum, 2001.

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7

1941-, Cosentino Donald, and Silva Vagner Gonçalves da, eds. Eshu: The divine trickster. Antique Collectors' Club Ltd., 2013.

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8

Yoruba, une collection privée. Collections de Saint Cyprien, 2008.

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9

Carving wood, making history: The Fákéye family, modernity and Yoruba woodcarving. Africa World Press, 2011.

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10

Mason, John. Who's Knocking on My Floor?: Esu Arts in the Americas. Yoruba Theological Archministry, 2003.

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