Osogbo and the Art of Heritage: Monuments, Deities, and Money

Index

Abimbola, Wande, 72 Abiodun, Rowland, 26, 172n8 absence, certification of presence and, 120, 128–30, 173n9; Western notions of heritage and, 14, 120–21. See also òlàjú; photography ; publicness; visibility Achebe, Chinua, 32, 56 Adenle, Samuel Adeleye: biographical profile, 27–29, 142, 165n17; òlàjú, 126–27, 130; Osun grove declared a national monument by, 121, 137–38, 155–56; trading career of, 27–28, 127; Wenger and, 48, 66, 139, 149–52, 156 Adeyemi, Yinka, 165n10, 169n2, 170n14 adire (indigo): trade, 28; traditional methods, 86–87 Adunni Olroisha Trust, 70 aesthetics, African: “Black Culture” and, 61–62; syndesis and, 30–31, 98; Yoruba concepts of, 49, 51, 54–55, 67, 145–46, 175n10. See also Nigerian art; retraditionalization; ritual media; style; Yoruba art aesthetics, Western, 4, 6, 9, 52–56, 75–76. See also modernity; style Afolabi, Jacob, 41–43, 45 African art: modernist revitalization efforts and, 2, 6–7, 32–33, 56, 61; Osogbo as site of rebirth of, 1, 2, 33, 122, 152 African heritage, contrasted with World Heritage, 71 African homeland, 64, 72 agency: globalization and, vii; media politics and, 138–39, 158; Picton and, 12; Wenger’s reshaping of the grove and, 138, 150–51 Ajani, Adigu. See Davies, Adigun Ajani àjé (mystic power of womanhood), 26, 116, 173n13 Akangbe, Kasali, 66, 68, 89 Akanji, Adebisi: Arugba gate by Wenger and, 108, 110; cement ensemble, 134–35, 134; cement expertise of, 47; cement sculpture Ela by Wenger and, pl3; Elebuibon and, 89; Iya Mapa sculpture by Wenger and, 53; museum appointment of, 68; Osun temple gate by Wenger and, 51–52, 98 Alare, 108, 135, 173n13 Anastassios, Gabriel, 113–14, 114 Anderson, Benedict, 130, 136, 172n3 Anglican mission, 25–26, 148, 164n14 animation: drumming and, 145, 173n12, 175n10; of images, 145, 175n10; washing and, 115–16 anthroposophy, 35, 54, 174n18 antiquities: Antiquities Commission, 155, 156; John Picton and, 11–12; national pride and, 154– 55, 175n18; “Osogbo incident” and, 66–68 Apter, Andrew, 61, 62, 64, 144, 146, 172n7, 174n6 INDEX Page numbers in italics refer to illustrations. The abbreviation pl refers to a color plate. 194 INDEX architecture: aniconic Yoruba traditions , 12, 51; “Brazil Houses,” 27; Matanmi II and, 128; Matanmi III and, 99; òlàjú, 130; sexuality expressed by, 50, 51, 108; traditional decoration of, 166n11. See also Osun grove structures Armstrong, Robert Plant, 98, 103, 169n2 Ars Mundi Gallery (Atlanta), 94 art brut, 36–37 art schools: African taught art abroad, 86; described by participants , 41–44; Duro Ladipo’s theater troupe and, 42; exclusivity of, 43–44, 91; family members as teachers, 92, 170n14; founded by Ulli Beier, 6, 32, 39–40, 63; Kenneth Murray’s workshops, 154; Mbari Club workshops, 38; Mbari Mbayo Osogbo, 40–41; Osogbo senior artists and, 42, 57, 91, 170n14; third experimental art school, 40–41, 42–44, 86; touristification of heritage of, 57–58, 100–101; Zaria Art Group and, 62–63. See also Osogbo art movement (aka Osogbo art school); Osogbo artists artist village, 77 Arugba (votary maid): Osun festival role of, 104–105, 108, 109, 110, 111, 112, 142; politico-religious identity of Osogbo and, 111, 149; Stone festival role of, 106. See also children àse (life force), animation of images with, 145; communication and, 18, 107, 145; performativity of, 18, 103–104, 105, 107, 160; power imagery and, 144, 174n6; Wenger’s image-works and, 51, 53–54; Yoruba cosmology and, 16, 17, 18. See also forcefield; spiritual forces Asheville, North Carolina, 170n16 Asiru Olatunde, 47, 78, 170n14 Asiru Olomayoyo, 147 Ataoja: Osun festival role of, 106– 110, 146–47; Stone festival role of, 106 Atinga, anti-witchcraft practices of, 28–29 Atlanta, 86, 94 attention: Aufmerksamkeit and transcendental experience and, 118; concept of ilùti “good hearing ” and, 115; failure do to lack of, 112–14; global spotlight, 112, 118, 160; image and attention , 102–118; Image festival, 103–105; Internet and, 171n16, 89–90, 94–95; iróké used to call Ifa/Orunmila, 16, 17; Osun festival , 106–110; presence and, 160; royal beaded regalia and, 107; Stone festival, 105–106. See also spectacle authenticity: art brut and, 36–37; copying as a problem, 81–83, 96; exclusion and, 74; FESTAC and, 61–63; heritage as counter to, 6–7, 56, 58–59; Nara Declaration on Authenticity, 70; production of, by the New Sacred Art Group, 46, 75, 149; royal authority and, 99; sources of authority and, 75–76, 99–100; UNESCO and, 70, 73–76; Wenger’s conception...