The African Symposium: An online journal of the African Educational Research Network
AFRO-CULTURAL IMPERATIVES IN THE BEAD PAINTINGS
OF JIMOH BURAIMOH
Eyitayo Tolulope Ijisakin
Obafemi Awolowo University
Abstract
Beads had been a universal form of personal adornment from generation to generation
across cultures. Studies on beads have therefore focused so much on excavated beads and
their uses in antiquities; while the exploration of beads as a medium of creative enterprise in
the contemporary times have received little attention from scholars of African arts. This study
therefore evaluated how Jimoh Buraimoh has explored beads as a medium of artistic
expression drawing on his afro-cultural milieu. This study traced the evolution of Buraimoh’s
bead painting; identified and selected the relevant bead paintings of the artist; examined the
forms; and appraised the afro-cultural themes in the bead paintings. Data were sourced from
field work which included oral interviews with the artist, art collectors, as well as gallery
owners. Twelve (12) bead paintings spanning through the artistic career of Buraimoh were
purposively selected for analysis. Photographs of the selected bead paintings were taken to
appraise their forms, cultural themes and imageries. The descriptive approach adopted in
analyzing the data focused on the thematic thrusts of the bead paintings. The findings
revealed that Buraimoh’s bead paintings reflect cubistic organization of forms, were abstract
in style, and drew much inspiration from the Yoruba tradition. The study concluded that
beads which had been a universal form of personal adornment were explored by Buraimoh,
to produce visual records of extraordinary creative force with afro-cultural imperatives.
Key Words: Beads, Bead Paintings, Buraimoh, Africa, Culture
Introduction
Beads are small, usually round shaped-like perforated objects which are often strung
together to make necklaces, bracelets, or attached to clothing, or other decorative and
utilitarian items. They are usually derived from a variety of materials such as glass,
gemstone, plastic, wood, seed, shell, coral, amber, ivory, metal, paper, as well as faience.
According to the Original Catholic Encyclopedia (2011), the word “bead” is derived from old
English bede, meaning “prayer,” and was originally applied to prayer beads, or rosaries.
Beads are generally of durable materials; they have served as personal ornaments, in trade,
hoarded as a form of portable wealth, and also in socio-cultural matters.
Since ancient times, beads have been appreciated and cherished by the African
peoples. Among the African cultures that have made extensive use of beads are the Zulu,
Massai, Samburu, Bambara, Bafodea of northern Sierra Leone, as well as Nupe, Fulani Agoi,
Igbo-Ukwu, and the Yoruba of Nigeria. The Yoruba generally refer to all red beads as iyùn,
and all blue beads as s. è. gì. Other Yoruba names for beads include àkún, s. é. s. é. efun, ìl.èk.è, è.
rìnlà, ikàn, kele, okùn and lágídígba. Euba (1982) and Eluyemi (1986) have observed
abundant evidence of beads and bead making crucibles in Olokun grove, and Ayelabowo in
Ile-Ife. In the submission of Fagg (1980) the acme of beads production in Nigeria was at IleIfe in Yoruba land about the 11th century A.D.
When strung together, beads are used in some religious activities to help the faithful
count their prayers; this is evident in the Islamic religion, and the rosary in Roman
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The African Symposium: An online journal of the African Educational Research Network
Catholicism. At times, the Ifa divination chains called Op.èl.è are made of seed beads. The
spirits of the departed ancestors (usually invisible), occasionally visit their descendants in the
physical world and manifest in the form of elaborate masking ensembles known as
masquerades, egúngún, usually veiled figures with finely beaded panels. Religious objects
such as masks, figures and staffs were also usually heavily adorned with full beaded
ornaments. Beads have featured in superstition or magic, where charms are employed to ward
off evil forces that could bring sickness, war, misfortune, dearth and death. Up till today, it is
a general belief that the use of the traditional beads, àkún, has an affiliation with being
initiated into one cult or the other, or belonging to the Council of Elders, Ògbóni (A.
Adeyela, personal communication, August 16, 2010)
Status and ranks are acknowledged by wearing beads which distinguish their owners.
Adé orí l'a fi ń mo oba, ìleke orùn ni t'àwon ìjòyè is a Yoruba phrase which implies that the
king is distinguished by his beaded crown, while the chief is identified by the strings of beads
he puts on. More so, Yoruba monarchical system operates supremacy of power and authority
with the use of beaded objects to indicate ranks and wealth. Beaded objects such as crowns,
robes, sandals, flywhisks, staffs of office, hand fans, walking sticks and strings of beads,
wrists and ankle bangles are the constituent elements of the royal paraphernalia. Furthermore,
beads are significant in shaping the identity of those who use them for ceremonial purposes.
The royal families of Benin and Owo kingdoms have demonstrated their richness via
elaborate use of expensive and very rare beads as apparent in their costumes and other
ceremonial accouterments.
The continent of Africa is so rich and diverse in its culture which is the totality of
thought and practices by which the people creates, commemorates, nourishes and develops
itself; as well as making indelible landmarks in the history of humanity. Most of afro-cultural
activities cluster around the family and the ethnic group. Art, music, dance, drama, as well as
oral literature are among the factors that strengthen the wide range of religious and socioeconomic activities. The European culture, Christianity, and the Islamic religion have also
influenced the continent to a great extent. Africa’s cultural renaissance has therefore been
pivoted on the need to harness the cultural resources with a view to developing the continent.
Despite the abundant evidence of beads production and usage among the pre-historic
peoples of Africa, their use spread widely throughout the continent as a result of contact with
European and Mediterranean traders. By circa 1450, explorers and missionaries were
importing European mass-produced glass beads to Africa for trade. This assisted bead
production to grow from a highly developed localized African craft into a major
manufacturing industry centered in Venice. With low cost of production, high demand and
easy transportability, glass beads quickly assumed a prominent position in the 19th century
trade. Beads were poured into Africa in an amazing quantity such that Kaufmann (1993) calls
it "the bead rush".
Glass beads were valued in Africa because they were the products of an exotic
technology which according to Schoeman (1996) was hitherto not very familiar to the
African people. Consequently, there came a fusion between African artistic traditions and
European beads manufacturing technology which led to the development of new forms which
have reflected in the vibrancy of African cultural expression. Going beyond the trauma of
colonial force, beadwork exemplifies a fundamental theme of connection and convergence, a
fusion of African and European ingredients into a dynamic artistic expression. Early African
arts have been ‘‘art for life’s sake’’, that is they are functional, either serving as religious
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symbols or decorations in the King's palace. With the introduction of European style
contemporary art, Nigerians started to experiment with art for art’s sake. Contemporary art
provided the artist a way to broaden his artistic horizon and in some cases, to have a
theoretical framework for his art. Art moved from the level of craft to a practice with a
theoretical foundation that would instead of restriction, serve to expand the horizon. Among
the very few bead painters is Jimoh Buraimoh, who has within the Afro-cultural
philosophical thoughts produced visual records of intellectual impact.
Evolution of Jimoh Buraimoh’s bead paintings
Jimoh Adetunji Buraimoh (Plate 1) was born in O.sogbo on the 3rd of April,
1943, to the Alágbáà family of Ò.sogbo. The family descends from Tìm.ehin, the founder of
Ò.sogbo, and they are the custodian of the Egúngún masquerade in the town. His father was a
silversmith, while the mother is a seasoned mat weaver of Àwórì descent. Buraimoh's first
contact with colour came while assisting his mother to choose and combine colours for
dyeing raffia for her mats. His sculptural skills also evolved during his childhood days while
watching his father moulding figures (J. Buraimoh, personal communication, September 3,
2010).
After primary and secondary education, he trained as an electrician and later joined
the Duro Ladipo's Theatre Group in 1962, as an actor, and stage light technician. He
participated with the group in the Commonwealth Festival in London, in 1965. Buraimoh is
among the most successful of the Mbari Mbayo experimental Art Workshop set up by Ulli
Beier at Ò.sogbo in the early 1960s. Buraimoh started with ordinary pencil and oil colours,
and later developed his own unique style of bead painting. The evolution of Buraimoh's
technique can be traced back to 1965 when he started using beads, pieces of broken bottles,
tiles, and seashells for table tops with cement base which proved to be too heavy for pictures.
This method continued without yielding much success until Jean Wolford suggested the use
of local beads on Japanese paper for "lamp shade". The idea, as observed by Picton (1985)
caught the fancy of Buraimoh, and with the beauty of Yoruba beaded crowns in mind,
Buraimoh thought of how to transfer such to his drawing board. He however succeeded in
putting the beads together with araldite.
In 1967, Buraimoh had a very successful exhibition of his bead paintings at the
Goethe Institute, Lagos. He worked at the Institute of African Studies, University of Ife (now
Obafemi Awolowo University), until 1972 when he travelled to Kenya to represent Nigerian
Artists at the First All African Trade Fair in Nairobi. In 1973, he was at Ahmadu Bello
University, Zaria to study Arts and Design, and he obtained a certificate course in 1974,
specializing in sculpture. He has demonstrated and exhibited his bead paintingsin many
countries around the world. He featured in the Second World Black Arts Festival (FESTAC)
in Lagos. Buraimoh's bead paintings featured in “A Concrete Vision: Osogbo Art in the
1960s held at the Smithsoninan Museum of African Art in Washington, DC, 2000; and “the
World Moves-We Follow: Celebrating African Art” held at McClung Museum in Knoxville,
Tennessee in 2002. Buraimoh's bead paintings were also at display in exhibitions such as
“Visions of Yoruba” a two-artist show at the October Gallery in London, 2002; “Colours of
Africa: Contemporary Art from the Continent” held at the Diggs Gallery, Winston-Salem
State University, North Carolina, 2003 (J. Buraimoh, personal communication, September 3,
2010).
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Buraimoh has to his credit many awards and honours which include the 3rd prize in
the Third World Biennale of Graphic Art, London, in 1980; the Distinguished Artist Award,
Howard University, United States of America, 1985; and Merit Award for Cultural
Excellence, Osogbo, 1990. Lifetime Achievement Recognition, Centre for African and
African-American Art Culture, United States of America, 1994. Buraimoh holds artists like
Bruce Onobrakpeya, Georgina Beier, and Sussane Wenger in high esteem; and has mentored
David Osevwe, Niyi Babawale, Dada Latona, and Kayode Adewumi, Cory Thomas,
Deavavious Taylor, Demario Taylor, Demarkus Ponds, Joshua Harris, Larry McCrary, LC
Mann, Tony Edwardss, Vankeisha Hicks, and Sola Tanimehinola in the art of bead painting
(J. Buraimoh, personal communication, September 3, 2010).
Identification and selection of relevant bead paintings of Jimoh Buraimoh
Cubistic organization of forms typical of the Mbari Mbayo, (otherwise known as
Osogbo School of Art) characterizes the bead paintings of Buraimoh; also his works draw
heavily on the philosophy of African traditions. To identify Buraimoh’s bead paintings, his
signature could be found at the lower right vertical form, towards lower left in horizontal
form, or towards middle right in horizontal form. His signature could also be found at the
lower left in horizontal form, as well as in lower right in horizontal form. Buraimoh’s
signature is simply written with his surname, and the year of production of the bead painting;
for example: “Buraimoh 2010”.
Twelve bead paintings which spanned through the artistic careers of Buraimoh were
selected. The list of selected bead paintings is stated below:
“Collection of Masks” Jimoh Buraimoh
“Protection” (Jimoh Buraimoh, 1980) 92 x 122 cm
“Masquerade” (Jimoh Buraimoh, 2009) 76 x 148 cm
“A Priest” (Jimoh Buraimoh, 1992)
“Kano Dyers” Jimoh Buraimoh
“Trade by Barter” (Jimoh Buraimoh, 1997) 104 x 122 cm
“Family Portrait” (Jimoh Buraimoh, 1999) 55 x 66 cm
“Calabar Dancer” (Jimoh Buraimoh, 2005) 53 x 76 cm
“Intimacy” (Jimoh Buraimoh, 2005) 28 x 48 cm
“Spider’s Web” (Jimoh Buraimoh, 2002) 60 x 122 cm
“Oju Inu (Inner Eyes)” (Jimoh Buraimoh, 1994)
“Three Wise Men” (Jimoh Buraimoh, 1991)
Examination of forms in the bead paintings
The forms of bead paintings of Buraimoh can be described as being Idealistic.
Idealism refers to a perfected, or idealized, view of nature. Sometimes this idealized image
comes from an idea in the mind, rather than anything actually observed in nature. Idealized
works of art may also be naturalistic in that they are based upon nature, but at the same time
they ignore imperfections. Ijisakin (2011) has also observed profound usage of illusionism in
the bead paintings of Buraimoh. Illusionism is the creation of three-dimensional space on a
two-dimensional surface. The techniques of illusionism range from overlapping shapes, to
using light-to-dark shading that gives out the overall shape; this is what characterizes the
bead paintings of Buraimoh.
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Most of Buraimoh’s bead paintings are closely related to his mental pictures, this
makes relevance to physical reality less important to the aesthetics of the images created. His
style of putting images side by side in an overlapping manner to form rich composition is an
impetus of artistic development that has very powerful aesthetic impulse. This is evident in
“Family Portrait” (Plate 8), “Intimacy” (Plate 10), “Oju Inu” (Plate 12), and “Three Wise
Men” (Plate 13). It is in this vein that Aremu (1990) refers to Buraimoh as having conquered
the wilderness of design with the usage of vigorous enterprise, impressive rendition of
themes, and robust vitality of images. Kennedy (1992:75) also observed that Buraimoh
creates a vocabulary of shapes, improvised from circles, squares and triangles. He creates
shapes that make the nature of things in his bead paintings comprehensible to the eyes.
Buraimoh uses elegance and distinctive outlines in the composition of forms. He has
been able to imbue in his figures, attributes that give life and abundant ability to speak
eloquently. He asserts that the eyes speak a more effective and universal language. He also
exaggerates the length of the nose as evident in “Protection” (Plate 3), and “A Priest” (Plate
5); this suggests a breathing life form. With the use of contrasts and unusual whirling circles,
ovals and triangular forms, Buraimoh creates quite interesting space relationships. The forms
of most of the works cited are arranged in movements that are usually rhythmic using
repetition of form and colour in a sequence of pattern that excites the mind. He sometimes
uses oil colour to finish up the background of his beadwork as could be seen in “Spider’s
Web” (Plate 11).
The bead paintings of Buraimoh reflect cubist-like organization of forms. In works
containing figures, the eyes are a source of energy; having some kind of magnetic urgency
associated with the Yoruba traditional wood carvings this is apparent in “A Priest” (Plate 5),
“Family Portrait” (Plate 8), and “Intimacy” (Plate 10), and “Oju Inu” (Plate 12). The
distortion of human figures in Yoruba traditional art is not due to technical inability to
represent reality. It is an African way of expressing and representing ideas. The artist distorts
his figures intentionally, and in accordance with cultural rules governing artistic utterances
(Devereux, 1971). Buraimoh’s scenes are usually in semi-abstract, and as a Yoruba artist with
a background blessed with profound usage of symbols and images in both language and the
arts, he draws without restrictions on this afro-cultural milieu (Y. Shyllon, personal
communication, September 17, 2010). Buraimoh has also projected Yoruba art and design as
a vital and integral part of artistic development in a globalized culture. Filani (2005:83) has
however observed that there is an interrogating dynamism of the traditional and the modern
in Buraimoh’s bead paintings.
Appraisal of Afro-cultural themes in the bead paintings
Themes in works of art constitute the very essence of the work; it is the main subject
of discussion in the artistic composition. Imageries refer to the pictorial elements found in the
works of art. Themes reveal the artist’s thoughts, and it is the artist’s genuine response to or
reaction to his environment, be it religious, economics, social, and political. The themes are
often based on personal conviction of what the artist perceives to be appropriate.
The Osogbo art of which Buraimoh is a principal figure is mainly inspired by the
myths, and the artistic heritage of the Yoruba. However, choice and interpretation of the
subject matter depends on the individual artist. Buraimoh attends cultural festivals, marriages
and religious services with his inner eyes, ojú inú, widely open; striking ideas found in the
process are usually developed into his bead painting. The themes in Buraimoh’s bead
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paintings are classified into four, namely: religious, economics, social, and political. The
religious themes are plates 2 to 5; plates 6 and 7 deals with economics themes, plates 8 to 11
deals with social themes, while plates 12 and 13 are political.
In the “Collection of Masks” (Plate 2), Buraimoh has exploited the best of Yoruba
religious philosophy and mythology. The work is a rich composition of several face masks
worn during festivals and ceremonies with the purposes of cleansing, honouring, entertaining,
initiating, or blessing in many African cultures. Masks are worn to disguise the wearer and
communicate an alternate identity of the wearer, who is most often male, as he performs in
dances or theatrical skits. Ritual masks generally depict deities, mythological beings, good
and evil spirits, spirits of ancestors, animal spirits, and other beings believed to have
influence over humanity. Masks are usually carved of wood, although some are made of cloth
and other materials, they may also be painted; or decorated with beads, cloth, or raffia. The
masks in this bead painting look cheerful which suggests their benevolence rather than
grotesque masks that could be terrific and malevolent. It is pertinent to note that African
masks are highly prized by art collectors worldwide, more so that it is these African masks
that greatly influenced Pablo Picasso in the development of Cubism, and also provided the
spring board upon which the modern Western art developed.
“Protection” (Plate 3) is a very popular bead work of Buraimoh produced in 1980.
Buraimoh has used the bird to represent the protecting force, invisible to the naked eye. Here,
Buraimoh employs Yoruba philosophical belief that certain unseen forces protect mankind.
These unseen forces include Ori (Personal Destiny), the ancestors, the Orisas (Deities), as
well as Olodumare, the Almighty God. Buraimoh depicts this concept in a most convincing
manner. The large bird figure (denoting the unseen forces) spreads out its wings to
encompass the human heads (mankind) thus protecting mankind. This particular bead
painting has been used in Postcards, and circulated worldwide.
In the traditional African society, “Masquerade” (Plate 3) is a common phenomenon;
it is usually accompanied with chant, songs and dances. Jubilant moments, celebration, and
worship always pervade the atmosphere wherever we have the Masquerade in Yoruba
culture. Buraimoh’s town, Osogbo is renowned for worshiping Osun river godess. The
masquerade parades the city of Osogbo during the celebration of Osun festival which was
popularized by the late Susan Wenger, also known as Adunni Olorisha; the festivity which
has gained UNESCO recognition draws the world’s attention every year.
It is believed that the spirits of the departed ancestors (usually invisible), occasionally
visit the world and manifest in the form of elaborate masking ensembles known as
masquerades, Egungun, usually veiled figures with finely beaded panels. The Masquerades
have been predominant in ancestral worship, they have been used to cleanse the society, to
bless the people, and also in the easing of passage for important personalities that recently
join the ancesstors. Eyo masquerades of Lagos is worthy of note in the easing of passage
traditions of the Yoruba. Other masquerades in Yorubaland include Gelede (female friendly
masquerades), Agere, Pakoko, Igunuko, Alapansanpa, Atipako, as well as the popular Oloolu
of Ibadan. Yoruba names such as Abegunde, Amusan, Eegunranti, Eegunleti, Eegunjobi,
Ojewande, Ojewale, Ojetunde, Ojetunji, and Ojetola, suggest Egungun (masquerade) lineage.
Alagbaa are the custodian of the Egungun (masquerade) traditions in any Yoruba society.
The Masquerades were also a key instrument of social control and political
commentary, especially in traditional southern Nigerian cultures. In the southwest, Egungun
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The African Symposium: An online journal of the African Educational Research Network
(ancestral spirit) Alarinjo, a court masquerade and professional popular theatre, was common,
especially in the 14th-century Oyo kingdom. The contemporary theater in Nigeria grows out
of a long tradition of masquerades, festivals, and storytelling. Consequent to the popularity of
Islam and Christianity, the African traditional religion is fast fading away; it is the zeal to
preserve this rich African culture that inspired Buraimoh in the production of this 74 by 148
centimeters beadwork in 2009.
In Plate 5, Buraimoh portrays “A Priest” with the expected characteristics of the
holder of such office, who is supposed to be endowed with wisdom, knowledge,
understanding, and ability to consult with the spiritual powers. African peoples usually
interact with what are taken to be spiritual powers, these powers may be in the form of gods,
spirits, ancestors, or any kind of sacred reality with which they believe to have one form of
connection or the other. A Priest who serves as the link between such spiritual powers and the
people is someone especially consecrated to the service of such divinity and through whom
worship, prayer, sacrifice, or other service is offered to the object of worship. The
worshippers in return obtain forgiveness, deliverance, healing, protection, and diverse
blessings as a result of their devotion in worship.
This bead painting shows the priest as an elderly man, who is full of wisdom, as the
maxim says “voice of elders is voice of wisdom”. The big eyes in various sizes of circles and
different colours show that apart from seeing ordinary things, the priest can also decipher and
discern many other things that are not easily understandable by the common man. It is
pertinent to note that Buraimoh hardly put ears in his composition of human figures;
however, the two big ears of the priest portray him as someone who is ready to listen to the
supplications and invocations of the worshippers for onward transmission to the spiritual
powers who will grant such requests. While the widely opened eyes, the big ears, and very
long nose suggest sensitivity to the plight of the worshippers; the small mouth implies that a
priest should not be found making unguarded statement.
The “Kano Dyers” (Plate 6) shows three men in squatting positions; they are dying
their fabrics in the dug pit which is the characteristic manner of northern Nigeria where cloth
dyeing is the sole business of men. In Abeokuta and other parts of southwestern Nigeria,
cloth dyeing is not done in dug pits but in big pots or bowls, and it is usually practiced by
women. The three men portrayed in “Kano Dyers” wear hats which is characteristic of
northern dressing culture, the hats is supposed to protect the dyers from the scorching sun of
the environment. Kano was a powerful city-state of the Hausa people and an important
Islamic city of the West African savanna for centuries, this account for why only men
practice cloth dyeing in Kano because the Islamic women are usually in purdah. Kano was
also a major terminus of trans-Saharan trade caravans, and rich African textiles including
Kano dyed clothes were among the objects of trade. Buraimoh was inspired to produce this
bead work consequent to the stint he had with the northern Nigerian culture during his
student’s days in Ahmadu Bello University, Zaria. However, the work suffers poor
anatomical rendition, while some shades of green would have helped to balance the too much
of warm colours, there is also no enough contrast between the subject depicted and the
background.
With “Trade by Barter” (Plate 7) Buraimoh has attempted to reminiscence on the past
when commercial activities were based on trade-by-barter. Trade is the activity of buying and
selling, or carrying out a business transaction; while barter is the means of carrying out such
transaction whereby goods or services are exchanged for other goods or services. This is the
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earliest method of business transaction in the history of humanity prior to the advent of
money as a legal tender.
Money as a medium of exchange and a measure of value has made the exchange of
goods and services much easier. In trade by barter economy a person having something to
trade must find another who wants it and has something acceptable to offer in exchange; this
is tedious and cumbersome. However, in money driven economy, the owner of a commodity
may sell it for money, which is acceptable in payment for goods, thus avoiding the time and
effort that would be required to find someone who could make an acceptable trade. Money
may thus be referred to as a key factor in modern economy.
This “Trade by Barter” produced by Buraimoh in 1997 is a rich composition of
African motifs typical of Yoruba textiles, and upon which the Onaists draw inspirations
copiously. The Yoruba textiles have also played a significant role in the trade by barter
economy, and up till now in the money driven economy. This explains why Buraimoh placed
some pieces of coin in the centre of this bead work. The placement of the coins at the centre
invariably attracts so much attention such that the travelling of the eyes is restricted and thus
limiting aesthetic pleasure.
Buraimoh in “Family Portrait” (Plate 8) is presenting a family unit consisting of a
wise breadwinner father, a cheerful and attractive wife, and socially responsible four
children. The nucleus of any given society is the family, which is a social group united
through bonds of kinship or marriage. Ideally, the family provides its members with
protection, companionship, and socialization. The structure of the family and the needs that
the family fulfills vary from society to society. The nuclear family comprising of the father,
mother and their children is the main unit in some societies. In others, it is a subordinate part
of an extended family, which also consists of grandparents and other relatives. A third family
unit is the single-parent family, in which children live with an unmarried, divorced, or
widowed mother or father.
In this beadwork Buraimoh seems to be emphasizing the impact of the family in the
sustenance and development of human society; stressing that when we have a good family,
we will have a sane society. All members of the family have different responsibilities;
however, it is the father that shows leadership by example while the mother plays a
supportive role in raising a socially acceptable home. The umbrella at the background of the
beadwork is playing a protective role, but the umbrella should have been big enough to cover
everybody. The placement of the umbrella at the top is not unusual, it also suggests that all
reliable protection come from above, hence, the biblical statement that “except the Lord keep
the city, the watchman waketh but in vain” this speaks volume about the inevitability of God
in the affairs of mankind.
Portraiture is the pictorial representation of a person or a group of people,
distinguished by references to the subject's character, or, and social status. In Western culture,
portraiture emphasizes individuality and it probably attempts physiognomic resemblance.
Nevertheless, in Africa, social position is more focused on, while many portraits do not
replicate their subjects’ facial feature; although African viewers have no difficulty
recognizing this subject. Portraiture beyond physiognomic likeness is a significant standard
of judgment in African arts, because the true portrait of a man is of his mind. It is in this vein
that Buraimoh in his “Family Portrait” has expressed love, unity, and oneness; these are the
constituent elements of progress in the society. This type of family portrait are common in
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Nigerian homes today, and the older the portraits the more cherished they become.
It is rather unfortunate to note that some parents care less about being responsible and
responsive concerning the progress and welfare of their children not to talk of having a
family portrait. Some individuals often have more children than they can cater for; while the
negative effect of broken marriages in the society cannot be overemphasized.
The “Calabar Dancer” (Plate 9) resonates Buraimoh’s commitment to the
advancement of the rich African culture. Calabar is the capital city of Cross River State,
southeastern Nigeria. The city is on an estuary of the Gulf of Guinea; and it is a major trade
and transportation centre, with good road connections to as far as neighbouring Cameroon.
From 1885 to 1906, Calabar was the centre for British administration of southern Nigeria.
The Calabar people are Efiks known for their artistic skills; their
artistic culture belongs
mostly to the women, and they are noted for the promotion and preservation of Efik cultural
traditions.
Dance in Africa is one of the oldest and very important social and artistic
expressions. Many African dancers express traditions, cultural and historical influences
through their costumes and different patterns of movement. Dance can be art, ritual, or
recreation. It can be used to express emotions, moods, or ideas; tell a story; serve religious,
political, economic, or social needs; or simply be an experience that is pleasurable, exciting,
or aesthetically valuable. Dance often occurs at rites of passage, or ceremonies performed
when an individual passes from one role to another. Thus, birth, initiation, graduation,
marriage, succession to political office, and death may be marked by dancing. Dance may
also be a part of courtship. The dances of sub-Saharan Africa are often connected with
masked-dance societies whose members imitate or are possessed by spirits.
Buraimoh depicts two figures in the “Calabar Dancer”. The figure on the foreground
is dressed in yellow with black design garment; it has a headgear and holds a white
handkerchief. The other figure on the background is a female dancer dressed in outstandingly
beautiful costume, ready for the dance. The name of the dance performed by the Efik people
of Calabar is known as "abang" which means "pot" symbolizing fertility. Oku (2011) asserts
that the Calabar (abang) dance originated from the worship of the water goddess Ndem, and
that the dance is also in honour of the earth goddess Abasi Isong, who is credited for the
fertility, and clay for pottery.
The Calabar (abang) dancer displays beauty and femininity emphasizing on flexibility
and grace which is quintessential of the ideal beauty of an Efik woman. It is a dance of space,
rhythm and unity that attracts and holds the attention of the audience, giving them the
appearance of lightness and balance. The dancer often undergoes some degree of
transformation, taking on the spiritual and physical responsibility of representing the
ancestors or spirits. Buraimoh has used this bead work “Calabar Dancer” to promote the
aspirations of the Efik in their dance, which is intended to bring about pure joy, peace, and
harmony for everyone's wellbeing in the society. This bead work is an attempt at realism, but
not without some anatomical problems, especially with the hands; more so, Calabar Dancers
are usually more colourful than what is depicted.
“Intimacy” (Plate 10) depicts two idealized figures of a man and a woman in a very
close position which implies love, friendship, understanding, confidence, caring, tenderness,
and affection. A typical Yoruba maxim states that “Iwa jo’wa lo n je ore jore”, (Intimacy
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implies two friends who share similar characteristics with each other); while another states
that “Mo’wa foniwa lo n je ore jore”, (Intimacy implies two friends who can cope with each
others’ shortcomings). The transition from traditional to modern society has increased
society’s concern over trust and intimacy. Buraimoh seems to be feeling this pulse whereby
“Intimacy” and love between friends, parents to children, and even spouses often suffer from
distrust; and sometimes leading to hatred, fight, separation, or divorce. Therefore,
Buraimoh’s “Intimacy” aims at promoting cordial relationship, interaction, peace, and love in
the society. More so that couples now experience a prolonged period during which marriage
continues without the presence of young children, “Intimacy” with one’s partner is becoming
increasingly important.
Buraimoh seems to be obsessed with the creative prowess of the spider in this bead
painting “Spider’s Web” (Plate 11). The Spider is an animal with four pairs of legs and a
body with two segments. Spiders are rarely dangerous to humans and there is no reason to
kill any spider. An old English maxim states that “If you want to live and thrive, let a spider
run alive!” Spiders have spinning glands used to produce silken threads and webs. Various
species of spiders are found worldwide, those that produce webs to capture prey are known as
web spiders; while ground spiders hunt prey directly without using a web. What is caught as
a prey in this work is an ornate design similitude of the traditional Yoruba calabash carvings.
It is pertinent to note that the spider in this bead work has six pairs of legs, this call to
questioning Buraimoh’s cognizance of the anatomical features of spiders. It could also be that
the creativity of the spider has won the heart of Buraimoh such that he has added two more
pairs of legs, so as to spur the spider to more creativity. Hence, there is need to recognize,
appreciate and encourage those contributing to the positive development of the society.
In Plate 12, Buraimoh depicts “Oju Inu (Inner Eyes)” using two figures that seem to
be deep in thoughts. Inner eye is the ability to generate thoughts, feelings, ideas, and
perception. It is when one is able to see the formless behind the form, the meaning behind the
meaning; and see the substance that exists, and also know of the essence of creation that is
behind and within that substance. It is when the inner eye is opened and the vision is clear
that understanding and enlightenment becomes the pathway. The outer eyes are like
doorways to the inner eye. The inner eye is when the vision is truly extended, when all outer
occurrences are seen for what they are, not for the eternal statement of reality but for a
temporary doorway through which reality can be discovered. Inner eyes symbolize a state of
higher consciousness, evocation of intellectual reasoning with deep spiritual implication.
Buraimoh’s positioning of the eyes in this beadwork is laudable, and suggests that the
figures are searching into the deep with their inner eyes. Absence of mouth in both figures
also suggests that when one is busy searching with the inner eyes, it is hardly possible to
engage in other discourse. Good usage of the inner eyes expresses sound intelligence.
Visionary leaders are always in constant touch with their inner eyes as this helps them to be
proactive. Also, People in the creative or artistic careers are known to be exploiting inner
eyes for their ingenuity.
Plate 13: “Three Wise Men” depicts three men dressed in traditional Yoruba attire of
Agbada. The phrase “Three Wise Men” became popular when a group of distinguished
foreigners from the East came to visit Jesus Christ after his birth, bearing gifts of gold,
frankincense and myrrh. The “Three Wise Men” are regular figures in traditional accounts of
the nativity celebrations of Christmas. Worthy of note in this bead painting is the
countenance of the subjects depicted. The facial expression shows that the three wise men are
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deeply in thoughts, reflecting on burning issues upon which critical decision has to be taken.
More so, that it is easier for a wise man to see more from the bottom of a well, than for a fool
to see from the top of a mountain. Lichtenberg in the Quotations Page (2011) observes
that “One's first step in wisdom is to question everything, and one's last is to come to terms
with everything”. The treatment of the mouth shows that the “Three Wise Men” are not given
to unguarded statement. The gift expected from the “Three Wise Men” depicted in this
beadwork obviously is not that of “gold, frankincense and myrrh” but their ability to make
sensible decisions and judgments based on personal knowledge and experience.
Conclusion
This study reveals that beads which have played significant roles in many generations
across cultures have been ingeniously explored by Jimoh Buraimoh in bringing to life visual
records of extraordinary creative force, transforming tiny beads into a potent medium of
artistic expression. Buraimoh was inspired by the Yoruba tradition of incorporating bead
work designs into ceremonial fabrics and beaded crowns. The bead paintings of Buraimoh
reflect cubistic organization of forms; he creates his images from mental pictures culminating
in originality and individual expression. Buraimoh’s scenes are usually in semi-abstract form,
while his attempts at realism of human anatomy have not been very successful. He sometimes
uses oil colour to finish up the background of his bead work. His skill is based on his
exposures and artistic experiences, which are often guided by the legacy from traditional
Yoruba mythology and culture.
Furthermore, Buraimoh’s bead paintings show non-compliance with the conventional
rule of measure, which include simplification of anatomical forms. It is this distinguished
characteristics that has made Buraimoh to bridge the gap between academically trained artists
and those who grew from experimental and informal art workshops. His case has helped to
debunk the thought of Ulli Beier that the Academy destroys the Genius (Buraimoh 2000:52).
He diffuses the prejudice and serves as balance to the two groups. The stint Buraimoh had at
Ahmadu Bello University also helped to widen his frame of reference.
With the innovations in these bead paintings, Buraimoh has wielded a dominant
influence on contemporary Nigerian art as well as artistic landscape of Africa. In the
submission of Isola (2002), there is need for African media practitioners to be guided by the
cultural interests of Africa in whatever they create; in this, Buraimoh has successfully
permeated the cultural stratum of Nigeria. Buraimoh’s bead paintings resonate meaningfully
the imperatives of African culture; while this study has contributed to better understanding
and appreciation of beads towards their promotion, preservation, and exploration as a creative
medium of artistic expression.
References
Aremu, P. S. O. (1990): “The Bead Works of Jimoh Buraimoh as Compositional Patterns of
Spiritual Reality”, Nigeria Magazine, 58, (1 and 2).
Buraimoh, Jimoh (2000): The Heritage: My Life and Arts. Ibadan: Spectrum Books Limited.
Devereux, G. (1971): “Art and Mythology: A General Theory” in Carol F. Joplin (eds.) Art
and Aesthetics in Primitive Societies, New York: P. Dutton and Co. Inc.
Filani, K. (2005): Patterns of Culture in Contemporary Yoruba Art, Nigeria, Symphony
Books.
Ijisakin, Eyitayo Tolulope. (2011): “The Beadworks of Jimoh Buraimoh and David Dale” an
39 Volume 12, No. 1, June 2012
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M.Phil Thesis of the Department of Fine and Applied Arts, Obafemi Awolowo
University, Ile-Ife.
Isola, Akinwumi (2002): “Cultural Imperatives for African Media Practitioners” in Ife:
Journal
of the Institute of African Studies, Obafemi Awolowo University, IleIfe, 8, 15-26.
Kaufmann, C. (1993): ‘‘The Bead Rush: Development of the 19th Century Bead Trade from
Cape Town to King William's Town’’, Ezakwantu: Beadwork from the Eastern Cape,
Cape Town. South African National Gallery, p. 47.
Kennedy, J. (1992): New Currents Ancients Rivers: Contemporary African Artists in a
Generation of Change; Smithsonian Institution Press.
Lichtenberg, G. C. (2011): Wisdom. The Quotations Page. Retrieved April 11, 2011,
fromhttp://www.quotationspage.com/subjects/wisdom/
Oku, MaObong (2011): “Tradition: Abang Dance” Retrieved April 9, 2011,
fromhttp://www.maobongoku.com/maobong_mypeople_tradition_abang.html
Picton, Sue (1985): “The Visual Arts of Nigeria” in Richard Olaniyan (ed.) Nigerian History
and Culture, London: Longman Group Ltd.
Schoeman, Stan (1996): “A Brief Historical Review of Traditional African Beadwork in
Africa, South of the Sahara” Retrieved March 10, 2010, from
http://minotaur.co.za/clients/zulu/history.html
The Original Catholic Encyclopedia (2011):“Bede” Retrieved 12 August, 2011 from
http://oce.catholic.com/index.php?title=Bede
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APPENDIX: LIST OF PLATES “Collection of Masks” Jimoh Buraimoh
Plate 1: Jimoh Buraimoh
Plate 2: “Protection” (Jimoh Buraimoh, 1980) 92 x 122 cm
Plate 3: “Masquerade” (Jimoh Buraimoh, 2009) 76 x 148 cm
Plate 4: “A Priest” (Jimoh Buraimoh, 1992)
Plate 6: Plate 1:: “Kano Dyers” Jimoh Buraimoh
Plate 7: “Trade by Barter” (Jimoh Buraimoh, 1997) 104 x 122 cm
Plate 8: “Family Portrait” (Jimoh Buraimoh, 1999) 55 x 66 cm
Plate 9: “Calabar Dancer” (Jimoh Buraimoh, 2005) 53 x 76 cm
Plate 10: “Intimacy” (Jimoh Buraimoh, 2005) 28 x 48 cm
Plate 11: “Spider’s Web” (Jimoh Buraimoh, 2002) 60 x 122 cm
Plate 12: “Oju Inu (Inner Eyes)” (Jimoh Buraimoh, 1994)
Plate 13: “Three Wise Men” (Jimoh Buraimoh, 1991)
.
PLATE 2.
COLLECTION OF
MASKS, JIMOH
BURA 2
PLATE 2. COLLECTION OF MASKS,
JIMOH BURA 1
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PLATE 3. PROTECTION, JIMOH BURAIMOH 1980, 92 x 122 CM
PLATE 4. MASQUEARDE, JIMOH BURAIMOH
2009, 76x148 CM
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PLATE 6. KANO DYERS, JIMOH
BURAIMOH
PLATE 5. A PRIEST,
JIMOH BURAIMOH 1992,
PLATE 7. TRADE BY BARTER, JIMOH BURAIMOH 1997,
104x1122 CM
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Plate 8. Family Portrait, Jimoh
Buraimoh 1999, 55x66 cm
PLATE 10. INTIMACY, JIMOH BURAIMOH
2005, 24x48 CM
PLATE 9. CALABAR DANCER, JIMOH BURAIMOH
2005, 53x76 CM
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PLATE 11.
SPIDER'S WEB,
JIMOH BURAIMOH
2002, 60x122 CM
PLATE 12. OJU INU
(INNER EYES) JIMOH
BURAIMOH 1994
PLATE 13. THREE WISE MEN, JIMOH BURAIMOH 1991
Author Information
Eyitayo Tolulope Ijisakin
[email protected]
Department of Fine and Applied Arts
Obafemi Awolowo University
Ile-Ife, Nigeria
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