I am researching the Gelede Mask because I want to find out more about the complex nature of gender roles in Yoruba culture and investigate how different symbols in the Gelede mask are linked to gender relations. The Gelede mask depicts a woman’s face with a snake curling around the top of her head, a red-eyed warthog arched across the top of the mask and the figure of a hunter behind it. This mask is a staple in the Gelede Society, a group made up primarily of males, although each chapter is typically led by a female. The members join in effort to sort through problems that arise in their lives and others’–the biggest problem they deal with is impotency, thought to be caused by witches. This mask would typically be worn by a member of the society as they carry out a ritual to convince the witches in their lives to use their powers for good instead of evil. The face on the mask is intended to represent a beautiful woman, which helps influence the witches.

In Professor Abiodun’s article, Àṣẹ: Verbalizing and Visualizing Creative Power through Art
, the idea that power can come from visual art (especially sculpture) was discussed in depth, and that reminded me of my studies with the Gelede mask. Abiodun discussed the power visual art, such as intricate masks, has to create change/make things happen. He states that “Yoruba artists have . . . a special kind of understanding of a person, thing, or phenomenon. This is the source of an aesthetic consciousness with witch the artist must perceive the individualized form, color, substance, rhythm, outline, and harmony of a subject” (311). This special understanding is what gives the symbols on the Gelede mask the power to influence witches and create good change. Visual art is a powerful phenomenon in Yoruba culture–the symbols created on the Gelede mask are linked to gender relation both within the Gelede Society and in the general atmosphere of Yoruba culture.

To complete my research on the Gelede mask, I’ll need many primary sources such as interviews, films, and books written by people who have firsthand experience with the Gelede society. Secondary sources are also going to be very helpful, such as articles written by professors and other scholars that analyze the firsthand experiences and produce helpful insights about the symbols in the mask and how they are linked to the gender relations in the society. A combination of both of these types of sources should help me complete my research and answer my research question.

The object that I chose to study is the Beaded Thunderstone of God Changó. This is an eight inch tall artifact with columns of red beads around a stone which is seen at the base. These columns are separated by putty with gems in them. Changó makes an appearance near the top as a black figure in gold and red garments with a plastic eye above his golden cap. The object itself is quite beautiful, yet it doesn’t seem like it could have any use outside of being a piece of art. This leads to me think about the significance of Thunderstone to the cultures it belongs to, as well as the processes that lead to it becoming important in those cultures. I hope that in understanding about the purpose of the Thunderstone, I can learn about what makes these objects so much more than just objects to these cultures.

Throughout the year we have read articles from a variety of scholars discussing fetishes, rituals, and events that are part of the African Diaspora. Much of what we read discussed the actions and activities that different groups would participate in. The descriptions would sometimes include backstories, or explanation, but couldn’t get at the significance of what was happening. “Here the tip of the cone is perforated, to receive a single nail, which is meant to suggest the wonder-working knife of Eshu Odara, who worked miracles with a knife erect upon his head”(Flash of Spirit, 25). This description does a good job of matching the details of the art to the Orişa, but gives very little to its purpose in the life of the Yoruba people. I want to understand the significance of the individual Thunderstone so that I can apply that understanding to the rest of the culture, and learn without the bias of Western Culture.

To understand the purpose of the Thunderstone, I must find some form of evidence that contains the information I want. The first primary source that I think will be most useful, would be interviews with the people devote to the African Diaspora. Looking specifically at the influence of the Orişa Changó in their lives would be the most ideal interview available, but most interviews discussing their culture would be beneficial. Another primary source that would be useful to look at would be other pieces of art or fetishes from Changó. With these, I could look for an overall purpose from how Changó is represented to his followers. A secondary source with the analysis of Changó’s influence on the African Diaspora culture I think will help significantly in pulling out the most information I can from the primary sources. I believe it will give a sufficient introduction to Changó and his place in the African Diaspora, so much so that looking at the actual religion will allow me to connect to it.

Joe Petrozzino

I am studying three components of Ifa Divination; the tapper, the divining tray and the pair of divination chains. The tray is what Ifa Divination is performed on, the chains are used to tell a story from the way they lay on the tray, the tapper is used to communicate with the gods, spirits and ancestors. I want to study these objects because they are part of a very important ceremony that many people practicing this Yoruba religion do, and they do this quite often. This is a tool used to give them guidance and help them understand what may be going wrong in their life and instead of accepting that, they wish to fix it. I want to be able to understand the symbolism of these objects when performing such an important process. I want the learn these things in order to help the reader understand how this religion works. I want them to understand that they believe in something that is bigger than themselves, that they are a humble religion and aren’t afraid to ask for help when they need it. I want the reader to understand why these Yoruba people do certain things in their religion that may be foreign to the reader but after reading will then be clear.

Throughout this course it has been a reoccurring theme that the Yoruba religion is looked down upon by outsiders and they look at it as if the religion doesn’t mean anything. Ifa Divination is a way that the people of this religion learn to cope with their problems. These people are strong in the fact they have somebody or something to go to in a in their life when things aren’t going as planned. I believe that more people should be able to admit when they need help, making them a stronger person, and that’s exactly what the Yoruba people are doing. They want to set their life straight, they have a path and they don’t wish to stray from it. On a Divination tray each corner means something. There are ancient forefathers that are displayed on the board. There is a quote from the reading “The Yoruba World” by Drewal, Pemberton and Abiodun that states “when you work, work, work your name will remain in history. That Ona Munu is one of the hard-working, ancient diviners, and he became so famous that we shall remember his name forever.” (23) This is important to the Yoruba people, meaning that all the work they put in will be paid off, they will be grateful for all their work they put in and maybe they will be recognized too. There is another forefather Ona Oganran, they say “His way was straight, a straightforward person…a good man.” (23). Again this also reflects how the Yoruba people are as a religion. They want to get to the point, they want to know what can be done to make sure they are on the right path in life. All these beliefs and these meanings comes from Ifa Divination, this process reflects how they are as a people and how they go about their way in lie. Which to me is inspirational, they aren’t afraid to ask for help, or to seek guidance, something many people should learn how to do, including myself. For this I admire the Yoruba people and wish to know more about their ways.

In order to find this information about Ifa Divination I will need outside resources such as primary resources. These will be articles about a Ifa Divination performance or they could be personal stories from people who have participated in Ifa Divination. I will use the resources provided by the library to obtain these articles and stories. I will also need secondary sources such as book based on the Yoruba religion that may have further explanations of this process. There may also be a film that shows Ifa Divination being performed. If I can find a film, a newspaper article or story and a book that further explains the process from an outsider point of view I should be able to get all the information I will need in order to complete my research.

(Alyssa Falco)