Among the Yoruba, in southwestern Nigeria, there is the Ogboni secret society, which exerts an influence over the social and religious life of men (even today): in the dispensation of justice, the healing of diseases, in prophesying, etc. When a new member (man or woman) joins the Ogboni society, he or she receives a pair of ‘Edan staffs’. Each pair consists of a man and a woman linked at the top of the head by means of an iron chain threaded through eyelets on their heads. During meetings of the Ogboni secret society, these figural metal staffs are worn around the necks of the participants, serving as ‘proof of membership’, as it were. ‘Edan staffs’ always consist of an iron rod projecting from the lower part of the figures. Core figures of clay are attached to the iron staffs. Then, over these clay models, more precisely fashioned figures (a man and a woman each) are cast in brass using the ‘waste mould’ casting technique.
The present pair of ‘Edan staffs’ is designed throughout using the original, traditional form and method. They display the protruding iron handle below, and the iron chain linking them at the top. Both faces, in the style of the Ijebu region, have typical tribal scarification marks on their cheeks and wear chokers and belts. With their typically ‘shortened’ legs, they assume a crouching position. The hands of the man touch his upper thighs, while the woman holds her breasts with both arms. Also these poses are characteristic of ‘Edan staffs’. Both pieces are stylistically flawless, ‘correct’ representations, but not very old (relatively little usage patina – the Ogboni secret society still exists today). Minimal, tiny casting defects. Otherwise there is no significant damage.
Height: each c. 23 cm (with iron staffs below).
Mid-20th century. (ME)

Provenance:
Austrian private collection.

Lit.:
‘Der Ogboni-Geheimbund’ by Th. Dobbelmann, ill. p. 25, 30, ill. 21, 22, 28; ‘Yoruba. Nine centuries of African Art and Thought’ by H. J. Drewal & John Pemberton III, ill. 42, 135, 136, 137; ‘Erde und Erz’ by K.-F. Schädler, ill. 463, 466, 467.