Yoruba Scarification
July 22, 2011 Leave a comment
In collecting tribal African art one eventually stumbles across the huge diversity and complexity of the Nigerian genre. The use of Scarification intersects religious, cultural, social, aesthetic, and legal boundaries.
“Originally used medicinally and to distinguish friend from foe in times of war, the custom offers many Nigerians a sense of continuity in a rapidly changing world.” The practice is declining, and is now restricted to rural areas. “The origin of the practice — to identify people in the tribal wars — is no longer relevant, and the people who identify it with cultural beliefs haven’t had so much contact with formal education or urbanization.”[1]
E1 Yoruba Scarification[2]
The charts below show Nigerian scarification patterns and their associated locales.
E2 Scarification Chart
Scarification marks are also commonly used with tribal masks and statues. For example, the cult of Shango started in Oyo-Ile. The marks shown on the Shango dance wand are the marks of “the older line of Bashorun” in Oyo and are called meta aagberi (Abraham 1958:300)[3].
E3 Shango Dance Wand
E4 Nigerian Regions and Cities
E5 Offering Bowl – Olumeye Figure
Olumeye figures typically show Yoruba facial scarification patterns. “They are differentiated by the stylization of the hair, the design of the ear, and the elaborate patterns incised on the back of the arms of the bride, as well as on the bowl she holds.”[4]