Ere Ibeji from Yagba

The Yagba style originates from the Yagba region, located in the northern part of the Yoruba area, near the border with Benin. This style is distinguished by several unique formal and stylistic characteristics, such as the hands placed on either side of the navel, which differentiate it from other more well-known ibeji styles, like those from Oyo or Ibadan.

Morphology: The ibeji statuettes from the Yagba region often feature elongated bodies and accentuated geometric proportions. Their torsos are typically cylindrical, and the distinctiveness of the ibeji from the Yagba area lies in the placement of the hands on either side of the navel, a true hallmark of this style within the ibeji corpus.

Faces and Details: The faces of the statuettes in this style have a stylized appearance, with pronounced yet simplified features. The eyes are often almond-shaped or slits, with thin lips and sometimes a schematized nose. Facial expressions are generally stern or impassive, a common trait in African funerary art, evoking the spiritual realm.

Hairstyle: One of the most remarkable aspects of the Egbe Yagba ibeji is their complex hairstyles. These statuettes often display crests styled in several segments, symbolizing not only beauty but also the spiritual status of the deceased. These hairstyles may be enhanced with bluish or black pigments, using indigenous shades like indigo or iron powder.

Decoration and Ornamentation: Unlike other more elaborate ibeji styles, the Egbe Yagba sculptures are often minimalist in terms of bodily ornamentation. However, some may feature subtle facial scarifications that indicate their ethnic identity or social status.

Surface and Patina: The surfaces of Egbe Yagba statuettes often exhibit a dark, smooth, and shiny patina, the result of many years of ritual handling and care provided by families. These sculptures are sometimes anointed with oil or regularly washed, giving the statuettes a shiny or worn appearance over time.

In summary, the Egbe Yagba style Ibeji statuettes embody both sculptural finesse and spiritual depth. They reflect a complex relationship between the living and the dead in Yoruba culture, where the beauty of art serves as a tangible intermediary with the invisible. These objects are also vibrant testimonies of how the Yoruba have managed to give material form to their metaphysical beliefs.