Yorùbá. <em>Beaded Crown (Ade) of Onijagbo Obasoro Alowolodu, Ògògà of Ikẹ́rẹ́ (r. 1890-1928)</em>, late 19th century. Basketry, beads, cloth, 37 3/4 x 9 1/2 in. (95.9 x 24.1 cm). Brooklyn Museum, Caroline A.L. Pratt Fund, Frederick Loeser Fund, and Carll H. de Silver Fund, 70.109.1a-b. Creative Commons-BY (Photo: Brooklyn Museum, 70.109.1a-b_PS2.jpg)

Yorùbá. Beaded Crown (Ade) of Onijagbo Obasoro Alowolodu, Ògògà of Ikẹ́rẹ́ (r. 1890-1928), late 19th century. Basketry, beads, cloth, 37 3/4 x 9 1/2 in. (95.9 x 24.1 cm). Brooklyn Museum, Caroline A.L. Pratt Fund, Frederick Loeser Fund, and Carll H. de Silver Fund, 70.109.1a-b. Creative Commons-BY (Photo: Brooklyn Museum, 70.109.1a-b_PS2.jpg)

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What is this work of art about?

It's a crown; crowns like this were worn by Yoruba oba (kings).

The beads on the crown were a way of showing the wealth of the oba, as they would have been imported into Nigeria from Europe. The part of the crown you photographed is actually the front!

The oba's face was hidden by the crown, which helped transform him into a representation of kingship. There is some damage to the beads, which is why it's thought that this crown was sold from its original community.

Can you tell me more about the materials and the process of making this object?

This work is made primarily with glass beads. Beadwork could appear on crowns, hats, staffs, scepters, slippers, pillows, and gowns. Prior to the international bead trade, these types of crowns would be made of coral, red jasper, and shells, which were extremely heavy. The tiny seed beads, traded by the English, were made in Venice or in modern day Czech Republic. They are the exact type of beads Europeans traded with Native American peoples. The Yoruba have a long history of glassmaking prior to trade with Europeans.

The process would involve stringing beads together and sewing them onto cloth.

How did the museum acquire this mask?

The museum acquired this crown through the art market. It is theorized that the crown was sold originally because the beadwork of the veil was damaged, which diminished its original significance and purpose.

The crown originally belonged to Onijagbo Obasoro Alowolodu, who was a king of Ikere in the southwestern part of present day Nigeria.

Did the king have just one, or was it part of a larger set worn interchangeably?

A king may have had several crowns, although I'm not exactly sure how many he owned during his reign. The crown served an important role in the concept of Yoruba kingship. If you look closely, you'll see that a beaded veil covers the area where his face would be.

The crown itself is seen as a symbol of kingship, which kings from the area still wear today. By hiding the face, it depersonalizes the king and emphasizes the idea of divine kingship.

Interesting! Who are the figures in hats depicting? Gods?

The figures on horseback are representations of the king's military strength. They are wearing are bowler hats, which speak to British military presence in the region. They are unique to crowns made by this artist.

The face above the veil has been interpreted as being the god Olokun, who created the land and invented beads. It could also be Oduduwa, the first king of the ancient Yoruba capital who all kings claimed descent from.

Wow, that's really interesting! Thanks so much!

You're very welcome! I find this crown so fascinating because of the many different levels it can communicate on. Even the beads themselves would have been a symbol of wealth.

Why are the figures on this crown wearing small hats? Were hats like these common in Nigeria at the time?

These bowler-style hats certainly were not a customary aspect of Nigerian dress but their presence on this Ade (or crown) is a testament to the presence of British military and merchants and their impact on local identity during the colonial era.

The beads in this Yoruba piece look like the beads used in the Native American pieces. Could some of the beads in Native American art also have the same British origins due to colonization?

Yes, you've got it exactly right! The same beads were traded throughout the British Empire and were most likely made in Bohemia (now the Czech Republic). Did you notice the little men wearing bowler hats on horseback? This also speaks to the influence of British colonization.

It's crazy that so many places in the world potentially use the same materials.

That's a lot of beads.

That ade, or crown, would be worn by the Yorùbá Oba, or king. It would act as protection for both the Oba and his subjects by obscuring his face. As a divine being, looking directly into the face of the Oba was thought to cause blindness. The veil also protected the Oba from curses or ill-will direct at him in public.

Beads were considered a material directly related to divinity. Beads were invented by the god Olokun to distinguish gods and their human followers from one another. Notice the bird on the top of the mask? This was also a signifier of the king's role as an intermediary between the gods and his subjects.

Glass beads were made in this part of Nigeria prior to European trade, though not on a large scale. Before European trade, the Yorùbá also used beads made from coral, red jasper, and shells. The glass beads on this crown speak to the cross cultural exchange between Africa and Europe at the time.

Who is the figure on the front and the four figures around the crown?

The face above the veil represents Odùduwà, the first king of Ile-Ife (the ancient Yoruba capital). He was said to have worn the first beaded crown made by Olokun. This was an essential feature of any ade.

The horse riders and attendants surrounding the face are unique to crowns made by this artist. They likely symbolize the king's status and military prowess. Some of them are also wearing bowler hats which speak to the presence of British military and commercial interests in West Africa and their impact on local identity.

The figures (bird, people, horsemen) are in tiers, how do they fit in the hierarchy of the Yoruba society?

Starting from the top, the bird represents Ọkín, the royal bird who appears on many royal arts, crowns, medicine staffs and divination staffs. Ọkín represents the king’s ability to communicate with the gods and his position as a bridge between this world and the heavens.

The female figures immediately below the bird may be references to the power of mothers, whose support is crucial to any successful king’s rule.

The horse riders and their attendants likely symbolize the king's wealth and military prowess, but the horse can also represent spirituality in Yorùbá thought. The bowler hats worn by the horsemen speak to the presence of British military in West Africa and their impact on local identity.

Can you give me more information on this crown?

This Yorùbá beaded crown, or ade, would have been worn by the king. It helped to deify the ruler to the level of a living orisha (god). It also protected both the king and his public by obscuring his face. Looking at the oba, or king, was considered dangerous and was believed to cause blindness. It also protected the king by shielding him from curses and evil thoughts that could be directed at him in public. There are so many figures on and around the mask. Where would you like to start?

What does the bird on the top symbolize?

The bird at the top of the crown is understood as a representation of Ọkín, the royal bird who appears on many royal art objects, crowns, medicine staffs and divination staffs. Birds were believed to be divine in many African cultures (including in ancient Egypt) because they could fly between the earth and the heavens.

Who are the characters depicted on this?

There are so many. Let's start from the top: the bird represents "Ọkín," the royal bird who appears on many royal arts, crowns, staffs, etc. Ọkín represents the king's ability to communicate with the gods and his position as a bridge between this world and the heavens.

The female figures below birds may be references to the power of mothers, whose support was crucial to any successful king's rule.

The figures on the next tier down are horse riders and attendants. These figures are unique to crowns made by this artist. They likely symbolize the kings military prowess and the bowler has on the horsemen speak to British presence in West Africa at the time.

Finally, the face above the veil represents Oduduwa, the first king of the ancient Yoruba capital, Ile-Ife, who reigned in the 12th century CE. All Yorùbá leaders claim descent from him.

Tell me more.

You're looking at the Ade crown that belonged to the Yorùbá king Onijagbo Obasoro Alowolodu, who reigned from 1890 to 1928. Crowns of this type reference the first Yorùbá king, Oduduwa. In fact, that's who the face above the veil represents!

The king would have worn it so that the veil in front covered his face, protecting the public from looking directly upon his divine being.

Thank you.

Tell me about this crown.

This crown belonged to the Yoruba oba (king) Onijagbo Obasoro Alowolodu. It would be worn with the face behind the blue and white beaded mesh you see at the front. This veil would protect onlookers from the danger of casting their eyes directly on the head of the king, who is believed to be divine when he wears the crown.

Why did they work with the beads?

Even before the introduction of large quantities of glass beads for exchange by European traders, the Yorùbá used beads of coral, red jasper and shells which due to their color, luster, and rarity, were both aesthetically pleasing and signifiers of wealth and divinity. In fact, in their religion the first king of the Ile-Ife (the ancient Yorùbá capital) Oduduwa, was said to have worn the first beaded crown made by the god Olukun, who created beads as a sign of divinity.

Where did the little glass beads originate?

The glass beads that you see here were imported to Africa by Europeans. They were likely manufactured in Bohemia, modern day Czech Republic.

Although glass beads were produced in this part of Nigeria prior to European trade, it was not on a large scale. Yorùbá artists also used similarly sized beads made from seeds. The seed beads were quite difficult to make so when Europeans introduced large quantities of glass beads to the region, they quickly adopted them.

Beaded Crown (Ade) of Onijagbo Obasoro Alowolodu, Ògògà of Ikẹ́rẹ́ (r. 1890-1928)

Arts of Africa

This beaded crown is the ultimate symbol of Yoruba kingship. Although the Yoruba have a long history of glassmaking, the beads used to make this crown would have been imported from the British in the late nineteenth century. At the time, glass beads were a signifier of wealth, and small European “seed beads” were particularly valued for their uniform size and color variety. Blue beads were particularly valuable because the color was not commonly found in natural materials.

Worn by an oba, or king, this crown with its beaded veil serves to depersonalize the man and instead emphasizes his office. It also protects onlookers from the danger of casting their eyes directly upon the divine presence of the oba.

CULTURE Yorùbá

MEDIUM Basketry, beads, cloth

Place Made: Osun State, Nigeria

DATES late 19th century

DIMENSIONS 37 3/4 x 9 1/2 in. (95.9 x 24.1 cm) (show scale)

COLLECTIONS Arts of Africa

ACCESSION NUMBER 70.109.1a-b

CREDIT LINE Caroline A.L. Pratt Fund, Frederick Loeser Fund, and Carll H. de Silver Fund

CATALOGUE DESCRIPTION Conical basketry frame, covered with beaded cloth. Bead colors: green, yellow, amber, red, orange, white, royal and navy blue, and aqua. Top of crown surrmounted by dettachable bird. Second tier has four standing human figures, third tier has two frontal faces, two equestrian figures, and two standing figures. Attached beaded flaps at rim, with geometric patterns. Open work veil with frontal face. CONDITION: Veil flap missing beads, as are beads on equestrian figures, left standing figures, and second tier standing figures. Flaps and cloth framework frayed. Cinical basketry frame, covered by stiffened cloth base and embroidered with green, amber, yellow, red, orange, white, royal blue, aqua, and navy blue beads. Top of crown surrmounted by dettachable bird. Second tier of crown has four standing figures. Third tier has two frontal faces, two equestrian figures, two standing figures. Thress attached beaded flaps at rim, decorated with geometric designs. Forth flap, a veil, is open work with frontal face. CONDITION: Veil flap missing beads wherejoins crown proper. Beads missing from equestrian, left standing figure, and four figures of second tier. Flaps and cloth framework is frayed

EXHIBITIONS

MUSEUM LOCATION This item is not on view

CAPTION Yorùbá. Beaded Crown (Ade) of Onijagbo Obasoro Alowolodu, Ògògà of Ikẹ́rẹ́ (r. 1890-1928), late 19th century. Basketry, beads, cloth, 37 3/4 x 9 1/2 in. (95.9 x 24.1 cm). Brooklyn Museum, Caroline A.L. Pratt Fund, Frederick Loeser Fund, and Carll H. de Silver Fund, 70.109.1a-b. Creative Commons-BY (Photo: Brooklyn Museum, 70.109.1a-b_PS2.jpg)

IMAGE overall, 70.109.1a-b_PS2.jpg. Brooklyn Museum photograph, 2007

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RIGHTS STATEMENT Creative Commons-BY

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