Similarities Between Sango And Ere-Ibeji

Sango and Ere-ibeji figures are both carved with similar intentions. Commonly paired together because it is believed that Sango is the protector of all ere-ibeji, I intend to explore their one unique similarity: being a cultural tyrant who reached an untimely death and only then became an orisa. I will argue that the Sango and ere-ibeji figures are carved in order to represent the orisa’s negative standing within society and their abilities to wreak havoc if not worshipped properly. Activated only through their death, the carvings not only illuminate the myriad of myths that contributed to the formation of their cults, but they also highlight and emphasize their ability to cause destruction among the Yorubas if not properly ritualized. Thus,
Most of the myths surrounding Sango’s cult revolve around his death. Due to Sango’s vanity and ability to put his chiefs against one another, the people of Yoruba distrusted, turned against him, ad inevitably dethroned Sango. Many of the myths portray Sango as a ruthless tyrant. After being dethroned and sent into exile by the chiefs that reigned over Oyo-Ile, Sango hangs himself at a location known as Koso. According to one myth, Sango’s friends and followers were so angered by the events that lead up to his suicide, that they required help from the people of Bariba (who were thought to have attained powerful abilities) returned to Oye-Ile, and sought revenge by sparking a series of violent thunderstorms and lightning bolts that are said to have struck the houses of Sango’s many enemies, and burned them to the ground. They announced that the chain of violent thunderstorms was a direct result of Sango casting vengeance upon his enemies, and reintroduced Sango as a powerful orisa that required sacrifices and offerings. This was followed by establishing shrines, anointing priests as intercessors, and thus reestablishing Sango as a capable orisa rather than a deviant tyrant. A different myth presents Sango in a different light, however.
Figure 2 is an ose Sango that originally comes from Ogbomoso and is dated between the 19th and 20th centuries. It was collected at the shrine dedicated to Sango’s cult at Ogbomoso. As already stated, the ose Sango is unique in so far as it is highly uncommon to portray the figures without Sango’s double-axe symbol. The fact that the woman possesses a side part is believed to be a subtle representation of Sango’s double-axe, however. The woman has an elongated head which is significant because the Yoruba’s believe the head to be the most important part of the body since it houses the individual’s full potential and inevitable fortune; they refer to the head as the ori. While she is elevated on a pedestal and kneeling before the God she praises, just as the carved figure in Figure 1 does, the woman in this carved figure has large, full breasts that parallel the sculpture’s repetition in the shape of the woman’s head. Even her nipples, thighs, eyes, nose and lips are reminiscent of the woman’s head as all figures are carved triangularly. Behind the woman is a small child she carries on her back whose triangular features match her own. The child’s significance is believed to be a reference to Sango since he is said to be the giver of all children. The woman holds onto the child by extending her arms behind her and cuffing the child’s bottom. The relationship of mother and child references the