16/12/2013
The craft of calabash carving started from Oyo Ile, says Baba Ibeji. That was what the modern-day Oyo town was called at the time. It was a time when skilled carvers used to carve white calabashes for the Alaafin and his chiefs, including other Obas in the environs. Ancient Yoruba gods served as a good source of inspiration. And symbols of gods like Ogun, Obatala, Osun, among others, were commonplace designs creatively crafted by the carvers on their works.
In addition, different imageries such as masquerades, Edun, (the image of the god of fertility), Odu and Ese--- white strokes marked on the Ifa board during divination--- were common images drawn on the calabashes.
Today, such designs are rarely sought after by consumers because of varying religious beliefs. No doubt, the incursion of modern thoughts has influenced the efficacy of the Afinna, which has produced more modern designs. Beautifully carved calabashes with different religious inscriptions like ‘Jesus Never Fails,’ ‘The Lord is My Shepherd’, ‘Such is Life,’ ‘Happy Home,’ ‘Happy Married Life,’ hang on the walls of Abdul Raufu Ade Olaniyi’s store at the Owode area in Oyo.
As the secretary of the Calabash Carvers Association of Oyo town, Olaniyi’s expertise traverses many crafts like Sekere (local cymbal), Baata and the talking drums. He explains that civilisation has introduced a new phase to his craft.
“There are inspirational quotes carved into those ones hanging on the walls,” he says as he points at the moth-ridden wall. “We have the image of the map of Africa on the calabash. There are other designs like bell, common in religious circles. These are all on the calabash in different forms. There are some which carry the handshake design on them. What our fathers did not add we have included in the designs, because some images are no longer fashionable. There are other designs that people consider attractive enough and they buy them,” he adds.
Apart from the map of Africa and Nigeria, other designs come largely from the thoughts of the carvers. “The moment we are set to work with the Afinna, we look at the calabash and think of what design is most appropriate for it. The Afinna guides us on what to do which looks exactly like what we have in mind.”
Beyond playing its functional role as a cultural creation, the beauty of decorated calabash has been extremely commercialised. And it is widely admired and possessed by culturally conscious individuals. The subjective experience of the beauty of calabash often involves the interpretation of some entity as being in balance and harmony with nature, which may lead to feelings of attraction and emotional well-being from the consumers.
