Desacralization of the Ere Ibeji Figures
Among the Yoruba of Nigeria, the birth of twins (Ibeji) holds immense spiritual and symbolic value. Twins are considered extraordinary beings, believed to possess a direct link to the supernatural realm. They are often seen as messengers of the gods, capable of bringing blessings such as fertility and prosperity—or misfortune—depending on how they are treated. This sacred status gave rise to a distinct twin cult deeply rooted in Yoruba cosmology.
When one twin dies, a carved figure called ere Ibeji is created to represent the spirit of the deceased child. This figure is not merely commemorative; it becomes a ritual object imbued with life, serving as the vessel for the departed twin's soul. The family, especially the mother, tends to the figure as if the child were still alive—washing, feeding, dressing it, and speaking to it. The goal is to maintain spiritual balance and prevent the twin’s spirit from becoming restless or harmful.
The desacralization of an Ibeji figure occurs when it is no longer used in religious or ritual practice. This shift can be caused by various factors: changing religious beliefs (such as conversion to Christianity or Islam), the death or absence of family members responsible for the rites, the loss of ritual knowledge, migration to urban areas, or financial pressures leading to the sale of the object to collectors or art dealers.
Desacralization is not a casual act. It is typically accompanied by a specific ritual meant to release the spirit from the figure so it can return to the realm of the ancestors or the Orisha (Yoruba deities). This process generally includes:
consultation with an Ifa priest or traditional diviner to determine the proper timing,
offerings and prayers (such as food, kola nuts, and libations),
ritual cleansing using sacred herbs, water, or powders,
and finally, a disposition of the figure—whether buried, placed in a sacred site, kept at home as a memorial, or sold/donated to a museum or private collector.
Among the Yoruba, an improperly desacralized Ibeji figure may be seen as a source of spiritual disruption, potentially bringing illness, misfortune, or familial conflict. As such, the process is undertaken with great care and respect.
Today, many desacralized Ibeji figures circulate on the global art market or are housed in museums and private collections. While their spiritual function is often lost or overlooked by new owners, these figures remain powerful cultural artifacts that bear witness to a rich ritual system and a worldview centered on harmony between the living, the dead, and the divine.
Therefore, the desacralization of Ibeji figures is more than a religious gesture; it reflects broader cultural transformations within Yoruba society—where tradition and modernity intersect, and where ancestral rituals are redefined within the context of globalization and changing spiritual landscapes.Écrivez votre texte ici ...
In certain specific ritual contexts within the Yoruba tradition, a process of desacralization is undertaken to transfer the spiritual essence, the soul of the deceased twin, into a newly carved ere Ibeji figure. This sacred act is carried out exclusively by the Babalawo, the Yoruba diviner-priest and custodian of the Ifá oracle. Through his intervention, the original figure is ritually emptied of its spiritual charge, thus permitting its owners to relinquish it without fear—whether by donation, sale, or transfer to collectors, art dealers, or museum institutions.
Once the transfer has been completed, the initial statuette is no longer regarded as a sacred vessel but rather as a mere material object, a “piece of wood,” devoid of spiritual substance. The newly consecrated figure becomes the legitimate receptacle of the departed soul, maintaining the spiritual bond between the living and the ancestral realm. This procedure not only fulfills religious obligations but also safeguards against the wrath of the Orisha and restores cosmic equilibrium.
The ritual deactivation of the Ibeji may involve tangible, codified gestures. In some cases, minute metal inserts—often placed within the pupils of the eyes to prevent the soul from escaping—are deliberately removed. In other instances, parts of the figure are broken to create a metaphysical exit for the soul. These acts are not arbitrary but instead follow localized traditions. In the village of Ajasse, for example, the tips of the feet are ceremonially removed, whereas in Igbo Ora, it is the thumbs that are excised.
These apparent mutilations must not be misconstrued as the result of accidental damage over time. Rather, they are deliberate ritual interventions, deeply embedded in a complex spiritual logic. Far from diminishing the ethnographic value of the object, such modifications serve as enduring testimonies to the object’s ritual life and multifunctional status within Yoruba cosmology. They reveal the depth and sophistication of the twin cult, rendering it all the more compelling for the art historian and anthropologist alike.