Collecting African Tribal Art : Ikenga as Philosophy and Form

This blogpost is a response to a reader who wanted clarification on the role of the head held in the left hand of ikenga statuary. Physically it represents the decapitated head of the victim or enemy. It may in a way symbolically represent the achievement of the goal within a framework based on recognized societal achievement and success. There are ikenga which carry symbols of “elevated rank” which again is in keeping with the philosophy of “goal achievement”. There are also ikenga which carry defensive weapons (eg. a shield) in the left hand which may carry a whole different connotation related to the need for constant preparedness, struggle and survival. What the following excerpts from the article “The Ishan Cult of the Hand [Lorenz, Carol Ann]” will demonstrate is that the philosophy and form of ikenga has spread to mean many things to many peoples including but not limited to Igbo, Igala, Ishan, Isoko, Urhobo, Ijo and Bini.

ISHAN – Southwest Nigeria

Igbo

“It has often been suggested (e.g. Odita 1973; Boston 1977:2; Cole & Aniakor 1984:24) that the Igbo people are the originators of the cult of the hand, which they call ikenga or ikega. Widespread and highly developed, with numerous and varied images (Cole & Aniakor 1984:24), Igbo ikenga is a male cult that stresses the right hand and represents the force of a man’s individual strength, skill, indus­try, status, and wealth. A pair of horns, connoting masculine strength and aggression, is the most essential element in the carved image. Ikenga sculptures are differentiated in form, size, and degree of elaboration according to the achieved status of the owner. More elaborate examples are usually figural, commonly depicting a warrior carrying weapons or decapitated heads, or else symbols of elevated rank such as staffs of office, tusks, horns, and various ornaments.”

Igala

Idah region : Igala Ikenga

“The Igala version, called okega or okinga, can be found in two very limited geographical areas, in the southwestern lbaji district and in and around Idah (Boston 1977:87), both of which have had extensive contact with Igbo peoples. Some okegas are reminiscent of Igbo ikenga carvings in form and style, but in the Idah area, a unique okega form de­veloped with two or more tiers and mul­tiple figures of both men and women (Boston 1977:87, 89). The latter belong to hereditary lineage leaders and stress the “achievement of a whole clan and of all its members, both men and women” (Bos­ton 1977:94) in contrast to the Igbo em­phasis on individual masculine success and competition.”

Bini

“In Bini country, the cult of the hand, called ikegobo or sometimes ikega (Brad­bury 1961:133), is known primarily from the court of Benin, where kings and chiefs have venerated the hands as a per­sonal spirit at least since the reign of Ewuare in the fifteenth century (Egharevba 1949:88-89). Like Igbo ikengas, Bini ikegobo sculp­tures exhibit a number of symbols of ag­gression: warriors fully armed for battle, weapons, beheaded corpses, severed heads, and predatory animals. There is also, however, an emphasis on status and wealth, including figures swathed in abundant lengths of cloth, with elabo­rate ornaments and hierarchically ar­ranged attendants. The basic element of the Benin ikegobo is a representation of a “box-stool” (Vogel 1974:8), which serves as both a seat and a treasure container. This stool image, rather than horns as in Igboland, is the most important feature of the Benin ikegobo (Boston, cited in Bradbury 1%1:138, n. 14), which in fact lacks carved horns and instead often has a post, or a hole for an inserted stick, designed to support an actual tusk or horn. Other differences between Benin and Igbo practice, according to Bradbury (1961:133-34), are that Benin ikegobo are intended for the praise of both hands rather than just the right hand, and that a high-ranking or wealthy Benin woman might have an ikegobo of her own, al­though such instances are not common.”

Urhobo & Isoko

“The Urhobo (Vogel 1974:11) and Isoko (Peek 1981: 143; 1986:47) divide the twin values of the cult- status and wealth on one side, strength and aggression on the other – into two separate cults. The cult of the right hand is called obo, or “hand,” and is associated with a small and simple stool-like image that occasionally has an additional horn on top (Vogel 1974:11). A second cult, called ivri (spelled in a vari­ety of ways), is concerned with determi­nation, aggression, and warfare, but may also have a protective or anti­aggression function. The ivri objects de­pict a massive beast with a huge belly, gaping mouth, and prominent teeth. A human figure representing the owner or his “spirit double” (Peek 1981:42) sits or stands above this creature, often flanked by smaller attendant figures; it has been suggested that this hierarchic arrange­ment reflects Benin’s stylistic influence (Foss 1975:141).”

Ijo

“An image like the ivri, called efiri or ejiri, may be found among the Western Ijo. They also have an object known as ikenga or amabra, consisting of a stool with a low-relief face on top, or a two­horned figure reminiscent of an Igbo ikenga (Horton, cited in Bradbury 1%1:138, n. 14). The efiri and amabra im­ages seem to be of limited distribution in Ijoland, confined to areas most in contact with Igbo and Southern Edo cultures. As in Igboland, the ivri and efiri are nor­mally restricted to male ownership (Peek 1980:59) and the size and elaboration of these figures depends upon the “power, wealth, and prestige of the owner and his ability to control the image once made” (Foss 1975:134-35). Furthermore, the owner figure often is depicted with attributes of the warrior, including feathered headdresses, weapons, and severed heads.”

Ishan

“Ishan ikegobo may take several differ­ent forms, some of them sculptural and others resembling ordinary domestic utensils. All are relatively small, ranging from about 7.5 cm. to perhaps 38 cm. in height, and simply formed and deco­rated. The commonest type is shaped like a small hand pestle (olumobo), which is similar in form to a stool.”

Olumobo and ‘Horns-on-Stool’ Ikegobo

“Among the Ishan, the cult of the hand is called ikegobo or ikega as in Benin, but also by variant names including ikekobo, or simply obo (“hand”), as among the Southern Edo. It can be found in almost
every area of Ishan country, its absence today in the most northerly kingdoms seemingly attributable to the encroach­ments of Islam. Ishan ikegobo is one of a variety of religious practices designed to protect the individual and his family and to secure his fortune, warding off evil and bringing good luck. It is integrated with other forms of religious expression, most notably the veneration of ances­tors. Often the senior male maintains his family’s ikegobo together with the pater­nal ancestral shrine; it seems that upon its owner’s death the ikegobo is never de­stroyed but is preserved instead as a relic of the deceased. As in Benin, the Ishan cult of the hand is one of the trio of per­sonal cults including also the veneration of the head (uhomon) and of one’s per­sonal guardian or destiny (ehi). Both Benin and Igala practices may have influenced the fact that in Ishan, the cult of the hand is less rigidly mas­culine in its orientation. Both the Igala and Ishan cults are also similar in that they downplay the concept of indi­viduality of achievement, instead em­phasizing familial or communal welfare.”

Ikegobo (called ikeg’osun) dedicated to Osun.

“Like the Southern Edo obo cult, the Ishan ikegobo stresses success, achieve­ment, good luck, and the accumulation of wealth. One sacrifices to the hands in order to thank them for past successes and to petition them for future benefits. But unlike the Southern Edo version, there is no complementary cult compar­able to ivri that focuses on aggression or protection from violence. Those con­cepts are simply absent from the Ishan ikegobo cult as it is practiced today, and there is no hint that it ever had such con­notations. There are no warrior figures, no decapitated victims, no images of weaponry, no devouring beasts.”

“The Ishan cult of the hand is con­cerned, rather, with seniority. Usually only the elderly may establish a shrine to their hands. Although ownership of many Ishan art forms is the prerogative of high-ranking individuals, the ikegobo cult and its sculptures represent one as­pect of the culture that is particularly nonelitist. Anyone of sufficient age may have an ikegobo carved, regardless of so­cial position or profession. Moreover, since all are carved in wood, no distinc­tions are made on the basis of the type of materials. In fact, the ikegobo of a king may not be any larger or more elaborate than, or otherwise distinguishable from, those of his subjects.”

Ika Igbo

Ika Igbo Ikenga Figure

Ikenga, Ichi, and ultra-long Horns

Interesting Ikenga at auction in Dec 2020. Ikenga is a ‘ritual object’ (commonly found in Igbo family shrines), which on an individual basis represents ‘masculine strength’ and the ‘ability to achieve one’s goals through one’s efforts’. 

Shaw Ikenga : Merrill’s Auctioneers

Provenance – 19th/early 20th c African Tribal carved wooden figure, descended from Albert Shaw 1857- 1947, Author, Historian, Editor of the Review of Reviews, member of the American Antiquarian Society, eroded, crusty surface, loss to base, ht 20 1/4″

Ikenga Ichi composite

I couldn’t resist developing a composite comparing the treatment of the Ichi detail on the piece versus the actual scarification detail.

The other area that caught my attention was the length (almost half of the carving) and straightness of the horns. These horns are more symbolic and seem to suggest that success is driven more by will than by any physical or material accruement.

Five Things one should know about Ikenga

What is Ikenga?

Ikenga is a ‘ritual object’ (commonly found in Igbo family shrines), which on an individual basis represents ‘masculine strength’ and the ‘ability to achieve one’s goals through one’s efforts’. [1]

[E1] The Kunin Ikenga – from the collection of Myron Kunin

Types of Ikenga

The Ikenga is in the image of a horned male figure made out of wood.

[E2] Simple Ikenga form

• In its simplest form, it consists of only a cylindrical block and projecting “horns”. The horn symbolizes the aggressive, assertive, and powerful nature of the male animal.

[E3] Traditional Ikenga form

• The more elaborate type of Ikenga is a standing or seated male figure with a fully realized head and limbs which usually holds a machete in the right hand (hence “the cult of the right hand” – typically the hand of strength), and a severed head in the other.

[E4] Ikenga – Abstract

• The very abstract ikenga represents “characteristic ikenga features, such as a stool for the seat of authority and horns for vitality”. [2]

Understanding Ikenga.

To understand and “map” the eastern Ikenga concept to western thinking I use the following :
• Igbo religion incorporates the concept of an all-powerful creator God, Chikwu. (also called Chineke). [3],[4]
• Chi has been described as a sub-deity functioning as a personal, spiritual guide, (which sounds like a Christian adaptation to the “guardian angel” (mmuo) hypothesis). [3],[4]
• Each person has a chi that represents the personality essence that controls one’s destiny. [5]
• “Ikenga sculpture reflects the traits defined by the ikenga (the spirit element) that is an aspect of a constituent part of the chi”. [5]
• “The ikenga is the force that facilitates personal achievement and propels individuals to success”. [5]

What is the Origin of Ikenga?

Scholars are divided into two groups. The first relate Ikenga to the Egyptian “ram headed” influence as part of Igbo history, while the second and more plausible line believes that “that the Ikenga cult did not diffuse from anywhere into Igboland; at best, it is that part of the Igbo religious culture, epitomized in the spirit force and the powers of the guardian angels exemplified in Chi, and expressed in varied forms, which controlled the individual’s destiny and day-to-day affairs”. [1]

Where is Ikenga Used?

Ikenga is primarily used by the Igbo, however it is also used by the Igala to the north (called Okega), and by the “Benin and Delta groups, bordering western Niger Igbo groups, who call theirs Ikengobo, Ivri etc. The Oji, Orji, Ogilisi, and Okwe trees are special types of trees, believed to have spiritual potency, and appear to be the trees used in carving the Ikenga. However, the Akanta tree, which is a very hard wood and highly revered by carvers and medicine men across Igboland, was also used”. [1]

[1] The Ikenga, as Emblem of Greatness in the Cosmology of the Igbo of Southeastern Nigeria, Ihediwa Nkemjika Chimee
[2]http://www.digitalgallery.emory.edu/luna/servlet/view/all/what/Ikenga+are+shrines+to+the+right+hand
[3] http://en.wikipedia.org/wiki/Chukwu
[4] http://nigeriaworld.com/articles/2009/may/242.html
[5] A Companion to African Philosophy, (edited by Kwasi Wiredu), p421

[E1] In Pursuit of Beauty, Sotheby’s (NY), 11/11/14
[E2]-[E4] Private Collection (AplusAfricanArt)

Ikenga Symbolism and Classification

The Igbo tribe (primarily inhabiting southeastern Nigeria), make up one of the largest and most influential ethnic groups in Nigeria, numbering approximately 46-49 million people. Due to the effects of migration and the Atlantic slave trade, there are descendant ethnic Igbo populations in countries such as Cameroon and Equatorial Guinea, as well as outside Africa. Their exact population outside Africa is unknown, but today many African Americans and Afro Caribbeans are of Igbo descent.[1]

Ikenga Statue

For the person collecting African Tribal Art the Ikenga is a true find. The carving can be artistically abstract, represents a value system linked to societal advancement, but at the same time provides a physical manifestation of a supernatural link. The primary ideas behind an Ikenga carving are physical strength, determination, and will to succeed. Although typically used as a ritualized figure for Igbo men and groups, the symbolism of Ikenga has survived over the years to provide a cultural basis for components of a related value system, and connects historical with modern motifs of individual wealth, and capitalistic principles.

“The two ram horns means that the owner of the Ikenga must go ahead in his business with the stubbornness of a ram. The knife is his right hand means that he must cut down any obstacle on the way… Every Ikenga must be carved straight and rigid, because straightness is the sign of exactitude, and rigidity means perseverance.” (Onwuejeogwu 1972:92)

The notions of individual enterprise, determination, and achievement are the mainstay of Igbo personality:

“an essential aspect of ‘right and natural’ that talent should lead to enterprise, enterprise to promotion, and promotion to privilege”. (Basil Davidson 1969:25).

Four basic forms of carved Ikenga were identified,[Ritual Enactment of Achievement] [2]

Ikenga forms 1 & 2

Fig 1.  This is the sculptured Ikenga object type.

Fig 2. The abstract Ikenga type with the body in cylindrical form.

Ikenga forms 3 & 4

Fig. 3  Another abstract Ikenga symbol form.

Fig. 4  This is a figure of a typical Ikenga symbol object belonging to the broad class of “less abstract and more humanistic type”. Note the sitting position of the human figure, the scarification marks (ichi) on the face, the matchet and the human skull in the right and left hands respectively.

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[1] http://en.wikipedia.org/wiki/Igbo_people

[2] Ritual Enactment of Achievement: “Ikenga” Symbol in Igboland ; Ejizu, Christopher I., Paideuma, Bd. 37 (1991), pp 233-251.

Collecting African Tribal Art : Spiritual Energy of African Tribal Art

Plants typically absorb sunlight and convert the energy through photosynthesis to usable chemical energy while releasing oxygen. Humans convert food into chemical energy to support physical processes in the body. The physical process is part of an entire interconnected and balanced ecosystem. Beyond this however the human species possesses the faculty to create, comprehend and develop logic. This abstraction is the module within which the ‘African Tribal Spirit’ has been isolated and developed into a potent source of motivation, moderation, projection, control and self development. The purpose of the African Tribal Art in the ‘religious or protective’ (versus utilitarian) sense is to stimulate conditioned mechanisms via either an individual or on a collective basis, within the larger framework of a village or community.

Let’s take a look at a couple examples.

Bwa : Butterfly Mask
Wheelock Cat #139

This mask is attributed to the Bwa in Boni and Dossi. It represents “the butterflies that metamorphose and rise in clouds around the pools of water left by the first rains of spring. These masses of butterflies are a manifestation of the power of new life and the awesome power of the blessings of ‘God’…. This particular style [referring to a straight protuberance versus a hooked beak] , very long and decorated with a linear series of nested circles, is the only style correctly spoken of as a ‘butterfly’ or, more accurately, a spirit that takes this butterfly form.” The use of this mask in a ritual masquerade reinforces common ideals of beauty and respect for the environment held by the community. It may also play a part in developing the framework of a benevolent God-figure. On an individual level it may also act as a trigger in remembering an occasion where one may have witnessed a rabble of butterflies. This process is the ‘African Tribal Spirit’ – the mask itself while treasured and appreciated is not necessarily deified.

Buffalo Helmet
Private Collection

Toussian – Kable Helmet
Buffalo Helmets [Constantine Petrides]

The article (see link above) says “As a result of the animal’s cultural connotations, buffalo imagery is prevalent in the arts of many sub-Saharan cultures. Its behavior and anatomy have served as a special source of inspiration in many of the subcontinent’s masquerades. In Central Africa, in addition to the realistically rendered depictions of buffalo heads in the helmets of Tabwa people, one finds a large number of carved buffalo heads especially among the so-called Kwango cultural complex in southwestern Congo – including Yaka, Sulu, Pende, and Holo (see Bourgeois 1991).”

The Spiritual energy of African Tribal art is not limited to the imagery of animals but can also be established via behaviors, ideals (discipline, bravery, moderation of aggression) and the intangible framework of a specified cosmological framework, eg. Ikenga, and Egungun from the Igbo and Yoruba peoples respectively.

Collecting African Tribal Art : The ‘Eye’

In the world of African Tribal Art the ‘Eye’ is quite the Holy Grail of collecting. It is not driven by opinion, the majority, price nor person…. and it gets worse (it may be specific to a particular corpus or tribe). Contradictorily, the esthetics of a piece will only go so far since one has to consider age, material, function, associated tribal history, patina and rarity of the piece. Here are a few pointers that may save some time and money.

Keita Ikenga : It took about 5 years to land this piece.

Research :

a) Familiarize yourself with prices, pieces and tribes that perk your interest. This can be done through books, the internet, museums and auction previews. I can guarantee the process is more ‘nuture’ than ‘natural’.

b) Use available technology to your advantage.

c) Be patient. There are a lot of wonderful pieces out there and older collections are always coming to market.

Make it make sense :

a) Face and helmet masks should fit…. even if the piece was made for collecting a master carver would still extend some expertise to the product. There is nothing as disappointing as a helmet mask with an 8 inch circumference or a face mask incorrectly positioned eye slits.

b) All pieces don’t need to have an old patina (dried blood/feathers), caked dirt, cracks and scrapes.

Find reputable Dealers and Collectors :

This is actually a good way to save time and money. Conversing and exchanging experiences really helps in understanding and developing perspectives.

Develop your Senses :

a) Older pieces of wood will lose their scent, crack, and incur wear at specific areas. Some pieces are made with special and sometimes specific wood types. Inspect pieces for abnormal wear patterns in areas that may not necessarily be subject to distress.

b) Trust what truly moves you…. those pieces are the ones which will stand the vagaries of time. You have to be confident in your selections… (regardless of the provenance).

Have fun :

At the end of the day collecting African Tribal Art is a passion. There is nothing like sourcing, tracking, and closing on a piece that you appreciate for its beauty, authenticity, functionality and craftsmanship!

Collecting African Tribal Art : Discipline

The Igbo Ikenga Concept: Unveiling the Essence of Discipline

Discipline is a cornerstone of personal and societal growth, guiding individuals toward achieving their goals and maintaining order within a community. In exploring the concept of discipline, we delve into the Igbo Ikenga philosophy, which encapsulates the essence of discipline in the Igbo culture of Nigeria. This blog explores the Igbo Ikenga concept in relation to discipline, drawing inspiration from prominent figures such as Wole Soyinka, Confucius, Aristotle, and Dr. Eric Williams, who have shared profound insights on the subject.

Keita Ikenga

The Igbo Ikenga Concept:

In Igbo tradition, the Ikenga symbolizes personal achievement, success, and individual strength. It serves as a representation of the power of the individual and embodies qualities such as discipline, determination, and resilience. The Ikenga figure often depicts a man with a strong muscular body, clenched fists, and a prominent horned headdress, reflecting the embodiment of discipline as a forceful virtue.

Wole Soyinka’s Perspective:

Nobel laureate Wole Soyinka, known for his intellectual contributions, once remarked, “Discipline is the refining fire by which talent becomes ability.” Soyinka emphasizes that discipline refines inherent talent, molding it into tangible abilities. Through discipline, individuals harness their potential, enabling them to achieve greatness.

Confucius and the Way of Discipline:

The renowned Chinese philosopher Confucius believed that discipline lies at the core of moral development and social harmony. He said, “The strength of a nation derives from the integrity of the home.” Confucius emphasizes that discipline starts within the individual and extends to society, illustrating that personal discipline is foundational for the betterment of communities.

Aristotle’s Virtuous Discipline:

Aristotle, a prominent philosopher of ancient Greece, considered discipline as a virtue that empowers individuals to lead virtuous lives. He stated, “We are what we repeatedly do. Excellence, then, is not an act but a habit.” Aristotle’s perspective highlights the significance of disciplined actions in shaping one’s character and attaining excellence.

Dr. Eric Williams on Self-Discipline:

Dr. Eric Williams, the first Prime Minister of Trinidad and Tobago, believed in the transformative power of self-discipline. He stated, “The psychological and moral discipline that it (discipline) implies, the personal responsibility it entails, are of the highest importance in any society.” Williams underscores the role of discipline in fostering personal responsibility, paving the way for a flourishing society.

Conclusion:

The Igbo Ikenga concept embodies the essence of discipline, capturing its significance in personal and societal development. As we explore the perspectives of Wole Soyinka, Confucius, Aristotle, and Eric Williams, we witness the universality of discipline’s transformative power. Whether refining talent, cultivating integrity, pursuing excellence, or nurturing personal responsibility, discipline emerges as an essential element for growth and progress. By embracing the Igbo Ikenga concept and the wisdom shared by these eminent figures, we can unlock our potential, cultivate discipline, and embark on a path of personal and communal fulfillment.

Collecting African Tribal Art : Courage

The Mgbedike is an Igbo mask that translates to “Time of the Brave”. The secret sauce is the ‘spiritual’ visualization of Courage (see Ikenga for a similar visual manifestation related to Discipline) and Fortitude, with massive horns and ferocious teeth. One Igbo tenet circles individual accomplishment and social progress. The mask therefore acts as part of a social framework (aka “Village”) for reinforcing a multi-value system that is engaging to children as well as adults.

Mgbedike – “Time of the Brave”

Maya Angelou on Courage.

“I am convinced that courage is the most important of all the virtues. Because without courage, you cannot practice any other virtue consistently. You can be kind for a while; you can be generous for a while; you can be just for a while, or merciful for a while, even loving for a while. But it is only with courage that you can be persistently and insistently kind and generous and fair.”

Confucius on Courage

“Wisdom, compassion, and courage are the three universally recognized moral qualities of men.”

Aristotle on Courage

“Courage is the first of human qualities because it is the quality which guarantees the others.”

MLK Jr on Courage

“Courage is an inner resolution to go forward despite obstacles…. If you can’t fly, run; if you can’t run, walk; if you can’t walk, crawl; but by all means keep moving.”

Suaga (Mambila) Frustration turns to Joy!!

So the story begins in 2018 at the Allan Stone auction, hosted by Rago Auctions. Looking back now I can still connect to the interest the Suaga mask stoked in me… futile of course since this auction was chock full of Djenne, Ikenga, Ekpo, and Igbo (Mgbedike). There was literally absolutely no way any funds would be diverted unless there was an epic online failure and the auction went 100% live.

Suaga Mask : Morton Lipkin
2018 Rago Auction (Allan Stone)

Fast forward to March of 2022 and I purchase the following…. desperation, frustration – i’llbuyanythingSuagaatthispoint……. we’ve all been there….. right?

Suaga Mask Ripley Auctions 03/22

So in November (11/16/22) Pook & Pook Inc sent out an email notification and lo and behold there’s a Mister Suaga and Mrs. Djenne (more on this beauty later). This Suaga was a piece with a Klejman provenance which had come to auction in 2009 at Rago (coincidence) with a lot sticker from the old auction on the stand. Fortunately the Klejman provenance was not included in the lot details so I made out and made up for all prior Suaga frustration….

Klejman Suaga

Larence, Oya and Oshun.

Michelle and I made an overnight road trip to Duxbury MA in June 2022 via DC, Baltimore, NY and CT. The event was an estate sale full of musical books, American folk art, portraits and African Tribal Art antiques. The collector was Larence Harley Smith (RIP), who passed the year prior at age 87. Although we thought getting there (even with a tire puncture on the turnpike) at 9am was great stuff, we couldn’t compare to his friend Lan Nelson who made the three day road trip from Kansas and arrived a bit before we did.

Five Pieces – Oloju Foforo mask (far left)

The estate sale staff were pretty great (special shout out to Diane McNamee, Marion Antiques) and kept everything orderly, even though the sale was spread between three buildings. I think our best purchase was a Sokoto terracotta, from Axel (a NJ collector) who also made the trip and who had some recent success selling pieces through Millea Brothers Auctions. We had been going back and forth for a couple years on the price and payment terms for this particular piece. This is the way. Axel had previously shared some advice that occasionally works at a live auction, “Throw in an early bid at a piece with a fairly high estimate range…. you never know”.

Sokoto

Back to Larence’s collection, the main pickup was the Ikenga, but the double tiered Oloju Foforo mask may prove to be the most interesting.

Oshun (?)

Oshun, the Yoruba orisha of the river is associated with the colors white, yellow, gold, and sometimes coral. Oya, is another of Shango’s wives and her colors are brown, dark red, and multicolored. What’s interesting is the first tier showing Shango in disguise, wearing locks of hair cut from either Oshun or Oya in order to avoid detection from unfriendly enemy forces. Based on the extensive use of yellow I think the mask represents team Oshun.

Typical single tiered Oloju Foforo Mask

Larence travelled extensively and this was reflected in the diversity of his pieces. It was clear that he had been bitten but not limited by the African Art bug, since most of the proceeds of the estate sale were to be donated to a Native American charity. Lately I find myself leaning to pieces with at least a little provenance but the most important driver in buying pieces for a personal collection should be based on personal impact or attraction to the piece.