Urhobo Iphris edit
Urhobo is a West African civilization in between Liberia and the Congo along the mid-Atlantic coastline. Many of the creative aspects/ motifs that are recurrent in of Urhobo culture is personal images, Images of female beauty, shrine statuary for the spirits, water-spirit masquerades and related performance arts. The Urhobo People are very connected to their religions and using different art forms as way to further the integration of their beliefs into their daily lives. Many of the symbolism behind the art for the body has meaning to one’s individual character, status, wealth, or fertility for women (which also is another form of richness).[1]
Another example of personal images being projected through the use of “jewelry”, is the Iphri. Iphris is a guiding spirit used to correct social imperfections in males. Iphris’ are mostly attached to some form of an object or jewelry that protects against any undesirable habits or characteristics. Women do not have any use for Iphri because they have no problem with uncontrollable behaviors. Iphri are often used on children who are deemed difficult or who do not like to share. In Continuity and Renewal in Urhobo Art: Where Gods and Mortals Meet edited by Perkins Foss, Iboyi Meriore, a four year old Urhobo boy wears a small Iphri around his neck to help him achieve more social stability. The main goal of Iphri is to help “conquer one’s enemies… and in the process will teach one the ultimate conquest of one’s self”.[2]
Asanti Gold edit
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Gold is one of the most dominant currencies of the empire of Ashanti (Asante). A civilization under Akan and descendants of the Benin empire. Gold was viewed as a royal commodity, that often had its ties to family lineage and was passed down from generation to generation. Gold is still used today during important festivals or events to display one’s family public identity. Often times when a new king called an Asantehene is being welcomed, other kings wore decorative gold jewelry to represent their own status and power, but also as a way to pay respect to the new Asantehene.
When an Asantehene dies, his gold is melted and new jewelry is created to be given to his successor, specifically pieces that have some wear and tear. Furthermore, many of the Ashanti jewelry today have lived through the generations of a few kings. Many other accessories of gold become family heirlooms that are not to be sold, but passed down to the next generation of Royal Asanties. The Gold also represented the status of the king’s power and authority. The rings, necklaces, head pieces, swords, etc, were carved with symbols of “proverbs, historical events, and animals. Thus the lion is widely interpreted as personifying courage. The crocodile as referring to the might of the ruler, and the snake as symbolizing wisdom.” Many of the gold accessories were reserved for men and not women due to its connection with male status and power as kings within the culture.[3]
- ^ Foss, Perkins (2004). Where Gods and Mortals Meet: Continuity and Renewal in Urhobo Art. New York: Museum of African Art, New York, & Snoeck Publishers, Ghent. p. 17. ISBN 90-5349-506-1.
- ^ Foss, Perkins (2004). Where Gods and Mortal Meet: Continuity and Renewal in Urhobo Art. New York: Museum of African Art, New York; Snoeck Publishers, Ghent. pp. 59–66. ISBN 90-5349-506-1.
- ^ Pforzheim, Schmuckmuseum (2000). Ife, Akan and Benin: West African Art from 2000 Years. Germany: Arnoldsche, Art Publishers. pp. 72–73, 78–79. ISBN 3-89790-150-1.