Week 3 - Will Rea - Lecture 2 - Understanding the Modernity of Masquerade in Ikole Ekiti

The Modernity of Masquerade in Ikole Ekiti by Will Rea

Introduction

  • Focus on the relationship between traditional cultural forms and modernity in African art.

    • Persistent themes in African art historical studies show the integration of age-old traditions into modernity, especially postcolonial structures.

    • Example of research papers indicating the surprising persistence of these traditions amidst globalization.

  • Two contrasting views exist in African art history studies:

    1. Ethnographic Present:

    • Assumes production and performance in a static, unchanging tradition.

    1. Contemporary Use:

    • Highlights the current practice and evolution of cultural forms to suit present-day audiences.

  • Criticism of the assumption that all cultural traditions are new or fundamentally unchanged, leading to misconceptions about African engagement with modernity.

Historical Context

1960s-70s vs. Current Analysis

  • Cole (2007) highlights the evolution of perspectives on African art from earlier historical contexts to contemporary analysis.

  • Enwezor's (2001) “Short Century” exhibition also points to historical developments but overlooks some modern manifestations of tradition.

  • Debate exists regarding stable historical baselines for tradition amidst changes, proving a narrow view of modernity.

Focus on Ikole Ekiti

Masquerade in Ikole

  • Carnival in Abuja (2005):

    • Organized with a significant budget (over a billion naira), aimed at national representation.

    • Ambiguous reception from cultural elite; it was seen as inauthentic and poorly organized.

  • Rise in Pentacostal criticism of traditional performance forms.

  • The young community in Ikole engaged in reinterpreting tradition enabling modern cultural expressions.

Demographics and Historical Significance of Ikole

  • Population approximately 50,000; rooted in history with ties to Ile Ife (400 idols brought by Akinsale).

  • Ikole has historically been a site of empire and competitive dynamics regarding its king’s status.

Festival Culture

  • Two key vibrant traditions are identified:

    1. Ogun Festival:

    • Promoted by current Oba, Elekole Adeleye II, as a celebration of unity and community progress.

    1. Masquerade Performance (Egigun):

    • Encountering resistance from Pentecostal factions due to perceived paganism.

  • Ongoing arguments over how to adapt or resist cultural practice within modern societal frameworks.

Egigun: Definition and Variants

  • Egigun is the term used for masquerade practices in Ikole, differing from “Egungun” (more traditional terms).

  • Key research still references the significant comparative study from 1978 regarding various Yoruba masquerade types.

  • Terminology reflects cultural beliefs encompassing metaphysical properties tied to masquerades.

Types of Masquerades in Ikole

  • Notable Egigun types include:

    • Aborogi

    • Agbe

    • Agbo

    • Ajalamo

    • Others include Ede, Olu, and Osenyin.

  • Distinction between Eku (high-status ceremonial masks) and Agbe (more entertainment-focused).

Current Performances of Egigun

Agbe Masquerades

  • Dominant form during the Ogun festival; lively, brinksmanship style performances that invoke physicality and competitive spirit among masqueraders.

  • Features like dominance through physicality and 'festival tax' are hallmarks of Agbe performances.

  • Masquerade identities are individualistic, with inherent recognition among community members alongside their metaphysical power.

Performance Dynamics

  • High demand for stamina; performers run, leap, and participate actively in chaotic displays while engaging the audience through assertive actions.

  • Symbiotic relationship develops between the masks and their supporters for social validation and competition.

Eku Masquerades

  • Eku masquerades are revered, often associated with ancestral legacies and careful performance manners embedded within cultural narratives.

  • Unlike aggressive Agbe performances, Eku's movements and interactions are marked by rituals and reverence.

Ajalamo: Key Focus of Masquerading

  • Ajalamo represents one of the highest cultural significances in Ikole's context—recognized for its powerful status and metaphysical properties.

  • Its performance is steeped in secrecy and tradition, with strict societal rules governing its engagement (e.g., women and strangers are barred from seeing it).

Historical Perspectives of Egigun’s Introduction

  • Introduction traced back to either Elekole Agunsoye or the reign of Adeleye I, around the turn of the 20th century.

  • Local accounts include clashes between youthful traditions juxtaposed against existing chiefdom authority; Egigun emerged amid broader socio-political transformations.

  • Following social unrest and a reevaluation of cultural practices, masquerades sought to rally communal health and vulnerability against widespread illness (e.g., measles or influenza).

Conclusion

  • Ikole masquerade performances (Egigun) embody a blend of historical continuities and modern cultural dynamics.

  • The influential roles of key figures (e.g., Anisoloogun and Ogunyokun Olorunda) help reflect changing social standings amidst external influences (e.g., colonialism, Christianity).

  • Ultimately, Ikole’s masquerading represents a living tradition, continually adapting to contemporary cultural and spiritual horizons.