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commitment. Grief-stricken, Esu began to weep. He informed Ifá that if he did not find the monkey within the seven days that it takes for his tears to fall to the ground, Ifá would be cursed without peace for the rest of his life. Seeking a solution, Ifá once again consulted the oracle, who told him to return to the exact spot in the forest where the sacrifice of bananas had been performed. There, he would find the monkey. Ifá accepted the oracle's guidance and found Esu's monkey in the forest. Having returned the monkey to Esu before his tears hit the earth, Ifá completed the test and sealed his partnership with Esu. To express his gratitude, Esu swore to be a companion and accomplice to Ifá in all his endeavors. Thus, Esu acts as the mouthpiece through which Ifá imparts his clairvoyant knowledge.
20:
425:
the opele; each of the eight half-nuts will land concave up or concave down, heads or tails. A single line represents "heads" while two vertical lines symbolize "tails" – this process is recorded in the iyerosun powder, as it is done with the palm nuts. Thus, this binary system of one and two vertical lines gives rise to 256 different odu, each associated with a spirit and certain archetypal situation. Some odu are affirmative, and others are negative. Furthermore, the odu determines what offerings the babalowo prescribes to the client in order for them to achieve their desired ends.
277:
264:, a master palace wood carver of old Oyo, in present-day Nigeria. His legacy is continued by the opon Ifá carvers who are frequented by babalowo, and create trays with designs of their own discretion or by request of their patron diviners. Some sources of aesthetic inspiration are the fables of storied diviners, the spirits and archetypal everyday experiences described by the odu, and instruments used during Ifá consultations – such as the
417:
written on the board. If sacred palm nuts are used, sixteen nuts are held in one hand by the babalawo. With the other hand, he snatches as many as he can out of his palm. If there is one remaining, he draws two vertical lines into the iyerosun powder on the board. If there are two nuts remaining, he draws only one line. The process continues until two figures of four segments each are formed.
404:
from landing on the wood. Once properly oriented, an iroke Ifá, or a diviner's tapper, is used by the babalowo to evoke the presence of Ifá via the rhythmic drumming of the tapper on the surface of the opon Ifá. The nine diviners symbolically depicted in the tray's perimeter are also summoned. Then, sixteen palm or
292:
There are variations in the structure of opon Ifá, particularly in regard to the number and location of depicted Esu faces and the geometric shape of the board. Even within a town there will be different forms of the tray. For example, one tray may depict Esu with his chin protruding into the center
178:
The peripheral markings of the opon Ifá are functional as well as ornamental. They serve to divide the perimeter into nine different sections that contribute symbolic significance during consultations. Each section is named after one of nine ancient and influential diviners. In a divination reading,
403:
During a divination session, the babalawo first properly orients the tray with the "feet" of the opon Ifá facing towards him. He sits facing east, the direction from which Ifá is thought to have come from the spiritual plane, and allows light to illuminate the tray, being careful to prevent shadows
370:
offering of bananas that must be performed deep in a thick forest. Ifá obliged and performed the sacrifice, only to find Esu's monkey missing once he returned to the tree in front of his home. Esu, having suddenly decided to not pursue his trip, returned to Ifá's home to see that Ifá had broken his
365:
Esu requested that Ifá supervise his monkey for one week while he undertook a journey. Ifá agreed, but first he asked Esu to tie the monkey to the tree in front of his house. After Esu had embarked on his journey, Ifá consulted an oracle to see what Esu's intentions were for his journey. The oracle
424:
Ifá, reserving the palm or kola nuts for more serious questions. The opele consists of a chain of eight half-kola nuts strung together, each associated with one of the eight letters of an odu and a site along the tray's border. After evoking the spirits with the iroke Ifá, the babalowo then throws
153:
Opon Ifá are wooden, generally between 15 and 46 centimeters (6 and 18 inches) in diameter, and are flat and usually circular; however, rectangular, semi-circular, and approximately square specimens have also been observed. The trays exhibit a raised outer perimeter – often embellished
416:
Each of the odu is constructed by individually determining each "letter" of the odu in a step-wise manner, starting from the bottom-right division of the border, then the bottom-left. Working up from bottom to top, this process is repeated six more times until the complete odu is constructed and
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are thrown onto the opon Ifá's wooden surface and the babalowo proceeds to interpret which of the 256 possible sets of odu (verses) are displayed by the nuts. An odu is essentially a word or sign of eight marks that is drawn in the iyerosun powder scattered over the tray. Each of the signs have
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The circumference of opon Ifá may also be carved with animals that are significant in Yoruba mythology. Such markings are believed by practitioners to allow the babalowo to harness the powers of the depicted animal, enhancing the general efficacy of the tray, or heightening the effectiveness of
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who specialize in the trays, and are made with designs per request of the patron babalawo or by the carver's own accord. The emphasis on the tray's design is not only due to their "flattering" nature, but also because of their functionality during consultation. Different carvers employ various
380:
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Typically, the head is adorned with a carved depiction of Esu, the messenger of Ifá. Certain trays may have additional representations of Esu, and trays with two, four, eight, and even sixteen faces have been studied. In such cases, the "head" of the tray may be designated by
259:
played an important role in their communities – many were specialists, creating an array of objects from the banal (e.g. stools, walking sticks, etc.) to the divine (e.g. shrine sculptures, headdresses, etc.). Most of the carvers specialized in opon Ifá traced their roots to
332:
The face of Esu, the intermediary orisha between Ifá and the babalawo, is generally carved into the opon Ifá's perimeter to acknowledge his critical role during divine consultations and to allow the babalowo to directly confront him. The relationship between the two
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Beyond the foundational features of the opon Ifá outlined above, the functional nature of the structural enhancements cannot be generalized and are typically left to the artist's discretion. A particularly notable specimen is one from the 17th century
Kingdom of
215:("the meeting place that crowns all"), for a total of nine sections. These sections come into play during consultations when the babalowo individually evokes the presence of Ifá and the nine ancient diviners before beginning the reading of the tray.
110:
During divination consultations, the opon Ifá is used by a babalawo to communicate with Ifá, who is able to identify the causes and solutions to personal and collective problems, and to restore harmony with the spirits. An intermediary orisha,
341:, or verses, that the babalawo interprets from the opon Ifá – and provides an account for how Esu came to occupy his role. The following is an account of the myth by an Ifá chief from Oyo, Nigeria:
145:, or verses, associated with a patron's particular predicament. Once an odu is revealed by Ifá, the babalawo then elucidates a solution that is embedded in the archetypal story described in the specific odu.
362:(divine power or authority). Esu, confident in his status as the wisest among all of Olodumare's spirits, administered a test to 398 of the other deities, all of whom failed. Only then did Esu test Ifá.
195:("direct path") are respectively situated on the east, west, south and north sides of the tray's perimeter. On the diagonals from these cardinal directions are four additional sections or diviners:
247:. When abstract or crisscross markings are incorporated with zoomorphic imagery, they may offer a kinetic and sentient quality to the depicted animals, further enhancing the tray's divine potency.
115:, serves as the messenger between the babalawo and Ifá, as the two spirits are close companions to each other. In conjunction with other divine instruments such as an
239:, snakes may symbolize the efficacy of Ifá divination as a whole, as it is believed that snakes obtained their venomous capacity from Ifá – as outlined in the odu
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62:, literally meaning "to flatter", explains the artistic and embellished nature of the trays, as they are meant to praise and acknowledge the noble work of the
87:. Conversely, some scholars have referred to Ifá merely as the "great consulting oracle" as opposed to a god or a deity, without any divine connotations.
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certain odu. The abilities of the animals can sometimes be inferred by examining their roles in any of the 256 archetypal stories associated with the
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the babalowo sits facing east with the opon Ifá in front of them, such that the "feet" of the tray is closest to them. In this orientation, the
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divination. This board displays a standard circular opon Ifá in the center of the tray, but is encompassed by a larger, rectangular tray. In
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324:, heavily influenced by Ifá, opon Ifá may also be employed; this will often display a broad color gamut, and may lack a depiction of Esu.
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with carved figures, objects, and abstract geometric designs. The artistic intricacy of the peripheral carvings are a status marker among
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297:), while another depicts two Esu faces on opposite sides of the tray. Although the Ifá system of divination finds its roots among the
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211:("an early riser who sits down and prospers") to the southwest. The final section is the space in the center of the tray, the
301:, its practise has spread amongst the African diaspora and is known by different names, with subtle to profound alterations.
231:, which in Yoruba mythology can take on human form to conduct nighttime mischief. Birds are also depicted, which symbolize
19:
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243:. Furthermore, snakes may symbolize Ifá himself, perhaps responsible for their prevalence in opon Ifá and in other
668:
The
Continuum Encyclopedia of Native Art: Worldview, Symbolism, and Culture in Africa, Oceania, and North America
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738:. Pemberton, John, 1928-, Metropolitan Museum of Art (New York, N.Y.). New York: Metropolitan Museum of Art.
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47:
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990:
873:
Morton-Williams, Peter (1966). "Two
Studies of Ifa Divination. Introduction: The Mode of Divination".
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corresponding verses which must be chanted and chosen according to the client's particular situation.
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352:. Each of the four-hundred divinities has unique supernatural abilities; Ifá knows the predestined
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is outlined in the Yoruba canon – specifically from among the 256
207:("the one who has a diviner's fly-whisk and is happy") to the northwest, and
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Another way to use the opon Ifá incorporates a divination chain known as
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The
Journal of the Royal Anthropological Institute of Great Britain
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171:. The cowries are also used to spread the sacred divining powder,
770:
Ifa
Divination: Communication between Gods and Men in West Africa
538:"African Concepts of Energy and Their Manifestations Through Art"
454:
Ifa
Divination: Communication between Gods and Men in West Africa
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Ifá and Esu are two of the four-hundred orisha sent to Earth by
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112:
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99:, but most carvers are able to trace their influence back to
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or a Yoruba god — specifically, the god of divination
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Art and oracle : African art and rituals of divination
199:("the one who implements with the left") to the northeast,
203:("the one who proposes with the right") to the southeast,
139:(divining powder), the opon Ifá is used to determine the
487:. New York City: The Center for African Art. p. 17.
918:
Reviewing reality : dynamics of
African divination
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has been a subject of debate. Ifá may be considered an
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and the bottom is conversely called the "feet" or the
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708:. Bloomington, Indiana: Indiana University Press.
356:of all human beings, and Esu is the keeper of the
821:"Nigerian-style Ifá Divination tray made in Cuba"
706:Ifá Divination, Knowledge, Power, and Performance
485:Yoruba: Nine Centuries of African Art and Thought
223:. For instance, Opon Ifá may display carvings of
95:aesthetic styles within West Africa and in the
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920:. Beek, W. E. A. van., Peek, Philip M. Wien.
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8:
916:Van Beek, W. E. A.; Peek, Philip M. (2013).
773:. Indiana University Press. pp. 33–34.
542:College of the Arts of Kent State University
457:. Indiana University Press. pp. 33–34.
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948:: CS1 maint: location missing publisher (
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288:circumscribed within a rectangular frame.
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498:Clarke, J.D. (1939). "Ifa Divination".
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235:. Finally, according to diviners from
66:(diviners). The etymology of the term
16:Traditional African religious artefact
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850:The Sacred Arts of the Black Atlantic
825:The Sacred Arts of the Black Atlantic
589:"Ifa Divination Trays from Isale-Oyo"
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767:William W. Bascom (22 March 1991).
451:William W. Bascom (22 March 1991).
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50:, notably in the system known as
662:Hope B. Werness (January 2003).
90:Opon Ifá are typically made by
58:more broadly. The etymology of
799:Ross Archive of African Images
670:. Continuum. pp. 142–43.
127:(sacred palm or kola nuts) or
1:
1528:Traditional African religions
626:"Opon (Ifa Divination Board)"
593:Cadernos de Estudos Africanos
846:"Cuban Ifa Divination Tray"
375:In divination consultations
191:("straight path"), and the
27:from the collection of the
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399:are present on his right.
280:A 17th century Dahomeyan
1523:Yoruba words and phrases
734:LaGamma, Alisa. (2000).
609:– via OpenEdition.
133:(divination chain), and
1182:Cowrie-shell divination
704:Olopuna, Jacob (2016).
348:, the supreme being in
48:Afro-American religions
1533:Afro-American religion
483:Drewal, Henry (1989).
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187:("feet of the tray"),
183:("face of the tray"),
31:
23:An early 20th century
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313:, which was used for
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255:Historically, Yoruba
22:
587:Pogoson, OI (2011).
366:prescribed to Ifá a
121:(diviner's tapper),
383:A babalowo writing
44:traditional African
1251:Tarot card reading
630:csuimages.sjsu.edu
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1508:Religious objects
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1429:Mesopotamian
1422:
1407:Cledonomancy
1382:
1352:Scapulimancy
1327:Omphalomancy
1256:Tasseography
1243:
1231:
1216:
1202:Molybdomancy
1037:Ornithomancy
917:
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878:
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849:
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1332:Oracle bone
1305:Somatomancy
1274:Gastromancy
1227:Runic magic
1222:Rhabdomancy
1098:Aspidomancy
1052:Bibliomancy
1012:Ailuromancy
1005:Theriomancy
368:sacrificial
262:Are Lagbayi
209:ajiletepowo
1543:Yoruba art
1538:Divination
1502:Categories
1471:Revelation
1434:Numerology
1397:Apparition
1279:Mediumship
1266:Necromancy
1177:Cartomancy
1159:Cleromancy
1149:Hydromancy
1139:Capnomancy
1118:Oculomancy
1032:Myrmomancy
994:divination
991:Methods of
636:1 December
429:References
272:Variations
245:Yoruba art
241:okaran asa
233:witchcraft
201:alabolotun
189:ona kanran
40:divination
1513:Babalawos
1444:Isopsephy
1402:Astrology
1392:Apophenia
1347:Rumpology
1342:Podomancy
1337:Palmistry
1187:Favomancy
1172:Belomancy
1144:Aeromancy
1134:Pyromancy
1127:Elemental
944:cite book
936:828892524
903:145352272
406:kola nuts
397:iroke Ifá
346:Olodumare
266:iroke Ifá
225:bush rats
197:alaselosi
193:ona murun
164:ese opon.
160:oju opon,
156:babalowos
149:Structure
130:opele Ifá
118:iroke Ifá
36:ọpọ́n Ifá
1466:Prophecy
1439:Gematria
1417:Geomancy
1322:Haruspex
1296:Taghairm
1217:Opon Ifá
1027:Myomancy
754:43296774
389:iyerosun
322:Santería
282:opon Ifá
185:ese opon
181:oju opon
173:iyerosun
136:iyerosun
124:ikin Ifá
64:Babalawo
25:opon Ifá
1476:Ecstasy
1456:Onmyodo
1423:I Ching
1368:African
1192:Kumalak
1113:Dowsing
1090:Scrying
1065:Falnama
895:1158049
547:May 11,
520:2844391
335:deities
307:Dahomey
257:carvers
169:cowries
105:Nigeria
70:however
54:and in
1481:Vision
1461:Oracle
1384:Sikidy
1284:Séance
1239:Sortes
1233:Sikidy
1197:Mengdu
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891:JSTOR
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393:opele
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319:Cuban
311:Benin
229:okete
227:, or
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1451:Omen
950:link
932:OCLC
922:ISBN
857:2019
832:2019
807:2019
775:ISBN
750:OCLC
740:ISBN
710:ISBN
672:ISBN
638:2013
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459:ISBN
395:and
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