Ere Ibeji from Kwara

Ilorin,the Powerful !

In the 1800s, the city of Ilorin came under the control of the northern Fulani amid a context of internal political fragmentation among the Yoruba. It became one of the most powerful cities in Yorubaland and a strategic base for extending Fulani domination over vast surrounding territories. Today, Ilorin remains the capital of Kwara State, with over a million inhabitants, and is still one of the main cities in Yorubaland as well as a major religious center in the spread of Islam in Nigeria.

The study of Ibeji from Ilorin and the surrounding territories of Kwara State presents notable challenges for historians and specialists in Yoruba art. These Ibeji are often difficult to classify accurately as they do not exhibit unified stylistic characteristics, and their great similarity to the Ibeji of their Igbomina neighbors further complicates the differentiation between these two stylistic areas. In light of this difficulty, the generic designation "Kwara State" is often used to refer to these Ibeji, as well as those from northern Yorubaland in general. Some experts even include the Ibeji from Kwara State within the category of Oyo-style Ibeji.

The Ibeji of Kwara State, and more specifically the Ibeji from Ilorin, hold a unique place in Yoruba art, reflecting a rich spiritual and aesthetic tradition.

Kwara State, in northern Yorubaland, with the city of Ilorin as one of its major centers, is located at the crossroads of Yoruba and Fulani influences, which is evident in the distinct aesthetic of its Ibeji statuettes. The Ibeji of Ilorin are characterized by certain unique stylistic features that reflect the artistic influences of this region at the intersection of Yoruba, Hausa, and Fulani cultures.

The Ibeji from Ilorin exhibit a more naturalistic stylistic approach and are sometimes more finely detailed than those from other regions of Yoruba land. Their bodies are often sculpted with particular attention to proportions, and their faces display more elongated and graceful features, influenced by Hausa and Fulani craftsmanship techniques.

Like other Ibeji statuettes, those from Ilorin are often adorned with jewelry, necklaces, beads, and sometimes local fabric clothing. However, in Ilorin, one can observe a more sophisticated ornamentation influenced by Islamic practices and the surrounding Fulani culture, with engraved patterns that echo geometric styles typical of Islamic or Sahelian art, such as the Tyrah: a triangular leather amulet containing verses from the Quran and other magical-religious materials.

The posture of the Ibeji from Ilorin tends to be upright and solemn, with arms positioned alongside the body or slightly bent forward. The faces often express a serene dignity, with a direct and piercing gaze, almost meditative, contrasting with the more stylized and geometric Ibeji from regions further south, such as those from the Egba, Owu, or Ijebu areas. The details of the hair (often styled in complex patterns with braided designs) and the scarifications on the cheeks, symbolizing ethnic identity or spiritual attributes, are particularly well-crafted.

In Ilorin, although Islam is the dominant religion, traditional Yoruba beliefs remain powerful, creating a fascinating cultural syncretism. The Ibeji statuettes thus embody both a religious and artistic practice that reflects the tensions and compromises between Yoruba polytheism and Islam, two belief systems that can sometimes be in conflict. The rituals surrounding Ibeji, though discreet in Ilorin, persist and are integrated into a broader Islamic culture.

The Ibeji statuettes from Ilorin, attributed to Kwara State, although they share the fundamental characteristics of Ibeji from the Yoruba world, also reflect a unique cultural crossroads. They illustrate both the spiritual significance attributed to twins in Yoruba cosmology and the ability of Yoruba art to absorb and adapt external influences while maintaining an intact ritual and spiritual depth. Within the context of African art, the Ibeji from Ilorin are valuable examples of how religious art evolves in interaction with local social, economic, and religious realities.

Under and above, some examples of Kwara's Ibeji made and used in the XIXst Century :

Few available Kwara's IBEJI under