Theatre Design & Technology - Winter 2008 - 44

ally considered a god, an òrìsà more specifically refers to a
spiritual aid who serves to promote better understanding of the
omniscient god, Olodumare. This is similar to the way spiritual
aids such as the Virgin Mary or Jesus Christ help to reveal the
Christian god (Ajani, 26 July 2006).
My excellent and resourceful Nigerian guide, Adigun Ajani
(an authority on Yoruba myth, former museum curator, and esteemed artist in the Osogbo community), underscored this idea
of an abiding Yoruba respect for female capacities with a legendary story. He explained that "Orunmila (òrìsà of divination)
once reported to Olodumare (God) that several of the major
male òrìsàs, such as Sango (òrìsà of thunder), Esu (trickster
òrìsà of checks and balances), Obaluaye (òrìsà responsible of
disease), Oro (òrìsà of secrets) and especially Ogun (òrìsà of
iron and war), could not create wealth. Olodumare asked why
they did not bring along Osun (the female òrìsà of fertility and
creation). Olodumare, in his wisdom knew that unless she was
involved as a primary female force, they could never be successful" (Ajani, 4 August 2006).

power (Ojeyemi, Ojetunji 2006.) "An Egungun in a traditional
performance can project humorous admonishments while
also teaching important wisdom from the ancestors," Tunji explained. "Yet some masqueraders today are very old and fearful.
We call this kind of masquerader Alagbo who can also perform
miraculous healing as a babalàwo (an herbalist/diviner with
powers similar to those possessed by shamans or medicine
men). These performers are so powerful they sometimes have
bees around them! Traditional Egungun masqueraders such as
these can use chanting and medicine to test each other in a
competitive way."
He described a typical Egungun ceremony which occurs
between the third and seventh days before the actual burial.
"Several days after death, the Egungun as the spirit of the deceased will come to visit." (The Egungun masquerade does not
allow any visible skin of the masquerader. Gloves and leggings

Ojetunji (Tunji) Ojeyemi
Mask Maker/Performer
Tunji participated extensively in Egungun masquerades as a
young audience member and later as a mask maker and Egungun performer. The son of a Nigerian chief and born into the
lineage of the Oje (traditional Yoruba cult of masquerades),
Tunji was initiated into the guild of mask dancers and acrobatic
performers at the age of six. He has since been a pivotal presence in annual Nigerian Egungun festivals.
Yet other mask makers I had interviewed in Osogbo expressed anxiety regarding how they might continue to create
such elaborately detailed and specifically relevant masks for
masqueraders like Tunji when Yoruba values and style are increasingly diluted in the midst of encroaching Christian and
Muslim influences. West African masks require specialized
skill even as they demand significant understanding of ancient
spiritual beliefs that have unified the Yoruba community during
centuries of economic, social, and political challenges.
Ironically, cultural leaders throughout southwestern Nigerian communities strive to maintain the sanctity of their spiritual rituals and masked performances associated with Yoruba
traditions by also allowing tourism to help support their continuation. This struggle continues anywhere in the world where
ethnic traditions increasingly confront the invading, diluting effects of the vast global information highway. Consequently, traditional Yoruba masked performance tradition seems at risk,
unless the Yoruba spiritual foundations are maintained and
perpetuated. Currently these foundations confront a critical
shift in the history of Yoruba culture.
Tunji poignantly described his contemporary Nigerian
yearning to maintain Yoruba myth and ritual as he introduced
me to the world of Egungun masks and insisted that we cannot
take masks for granted; they function only when people hold
great spiritual beliefs, allowing the masks to harness significant

An Egungun from Adigun Ajani's childhood home in Ogbomoso
in Oyo State. Note the figure of another mask on top of the
Egungun mask that covers the Egungun performer's face.
Frequently one can see additional totems such as animals, birds,
or humans on top of African masks from numerous regions. These
figures often refer to the anthropomorphic power of animals
(and also as ancestors to humans) though John Mason suggests
that Catholic statues may also have been transformed into masks/
costumes for the òrìsà. (Mason 1994, 241)

W I N T E R

2008

THEATRE

DESIGN

&

TECHNOLOGY

43



Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 2008

Contents
Theatre Design & Technology - Winter 2008 - 1
Theatre Design & Technology - Winter 2008 - 2
Theatre Design & Technology - Winter 2008 - 3
Theatre Design & Technology - Winter 2008 - Contents
Theatre Design & Technology - Winter 2008 - 5
Theatre Design & Technology - Winter 2008 - 6
Theatre Design & Technology - Winter 2008 - 7
Theatre Design & Technology - Winter 2008 - 8
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
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