--A CRITIQUE OF THE ARTWORKS IN FAGUNWA'S BOOKS
by
Kayode Julius Fakinlede Ph.D
Awa ti a je akoni je meje: Kako, Imodoye, Akara-oogun, Olohun-Iyo, Elegbede Ode, Efoiye, Aramada-okunrin
A depiction of these brave hunters in the book Ogboju Ode ninu Igbo Irunmale was etched into our brains as young children. Those were our own John Wayne, Charles Bronson, James Bond, etc. It has never ceased to puzzle me that those figures of almost disjointed arms, legs and torsos mean so much to me even in my adult life. It is a great artwork created by an African. It's greatness lay in its Africanness or for that matter, Yoruba-ness – an artwork depicting Yoruba heroes, probably created by a Yoruba person, for the consumption of Yoruba people, particularly children. Each of the hunters carries with him, some element of his trademark with the exception of Imodoye, who for all intent and purpose has his own in his skull. He is the de-facto leader of the group.
The book Ogboju Ode also has a magnificient depiction of Ogongo Baba Eye. This artwork tells a full story of the sheer enormity of the bird in relation to its human adversaries. The sizes of those two – or is it three - humans brought before the 'king of the birds', pale in comparison to the gargantuan size of Ogongo. A description of Ogongo by the author as a bird that could not fly is vividly evident from the puny size of its wings. All in all, the picture lived up to the description of the author.
Can anyone really tell me why our children are presently being fed with constant doses of Disney's Big Bird when a Yoruba person actually created the original 'king'? Ogongo has remained frozen on the pages of Ogboju Ode for too long. It is a challenge for our cartoonists to give it flight.
These pieces of artwork and others should indeed be promoted to grace the offices and homes of Yoruba people everywhere.
Now, my own problem begins with some other pieces of artwork in the Fagunwa series. My questions: Could the publisher not find a qualified Yoruba artist to render the pictures in these other books? Did he think that by giving us a depiction of Yoruba heroes, heroines and protagonists and antagonists, clothed in European flavor and garbs, we would appreciate the publications more? Was he thinking that we would not appreciate African artwork? Whatever be his thinking, many of the pieces of artwork in those subsequent novels clearly diminish the beauty of the stories and storylines. They do not emanate from the storyline and are clearly not meant to appeal to Africans.
Now, let us begin with the artworks in Igbo Olodumare. From the portrayal of Akara oogun of his father, a smart Yoruba artist would have given us the picture of a hunter in full hunting apparel. Instead, our first encounter with the picture of Olowo-aiye is during his own chance meeting of Ajediran – Akara-oogun's mother – and her sister. Ajediran and her sister dressed like two European ladies lost in a forest. Olowo-aiye does not evoke the personality of a brave Yoruba hunter with the accompanying accoutrements. He is dressed too cavalierly for a brave hunter going into an evil forest from where he may not return. Where are the 'sere' and the 'onde'?
The picture of Baba Onirungbon-yeuke is apt but his residence evokes more of a contemporary European ambience. Truly, the author, in his narrative seems to transport us to the scenery that is not typically Yoruba, the residence of Baba Onirungbo-yeuke should have been less symmetrical.
The portrayal of Ojola-Ibinu however, is great.
In Irinkerindo ninu igbo Elegbeje, it is a pity that we are not afforded the picture of Irinkerindo as he dressed up going to be apprised of his mission by the king. However Fagunwa's description evokes the way a person dresses to be considered a perfect gentleman. The other pieces of artwork in this book are inconsequential.
However, in Ireke Onibudo, it behooves us to have the author's description of 'Arogidigba' and compare with the accompanying artwork:
"…. Arogidigba ni eyini. Ko tile jo eja rara. O dabi omobinrin. O si di irun ori re winnikin. O da aso aran ti awo re dabi aso alaro ti nwon sese re bora. Nwon si fi aran pupa bo egbe ogiri lehin re."
What we have from this description is the picture of an extremely beautiful, elegantly dressed Yoruba queen, albeit she has a tail like a fish.
The picture that accompanies this narrative is that of a European lady. Instead of being covered with purple 'aran', she is wearing a chemise and a skirt. Instead of platting her hair – di irun - in a manner that portrays a true Yoruba lady, it is done as in the European style. It leaves no one in doubt that the artist is non-Yoruba.
The artworks in Adiitu Olodumare give excellent portrayals of the characters as described by the author. Even though we are not afforded the name of the artist, there is no doubt that he is either Yoruba or has the mien of a Yoruba person. This last Fagunwa book of course tells a story that is more a contemporary than the others. The artist lived up to the spirit of the book.
In conclusion, pictures in a book attract children more than the written material. In order for our school aged pupils to create some interest in reading Yoruba books, the artworks need to be done to fit the narrative. Moreover, it is high time our artists and cartoonists began to give life to our conceived heroes and heroines on television and the internet. This is a good way of telling the children that our customs and traditions are indeed beautiful.
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Listserv moderated by Toyin Falola, University of Texas at Austin
To post to this group, send an email to USAAfricaDialogue@googlegroups.com
To subscribe to this group, send an email to USAAfricaDialogue+subscribe@googlegroups.com
Current archives at http://groups.google.com/group/USAAfricaDialogue
Early archives at http://www.utexas.edu/conferences/africa/ads/index.html
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