Yoruba Iconoclasm began in the 20th century. In the Yoruba context, objects are typically destroyed for religious reasons. The widespread adoption of Christianity after British colonization in the 1900s led to the notion that native Yoruba artworks were icons needing destruction.
Today, this view is increasingly challenged, and many activists and cultural advocates are working to preserve Yoruba art and heritage.
Historical Context
Yoruba art has evolved from periods of iconoclastic activity to being recognized as cultural heritage. For centuries, Yoruba artistic traditions have been central to Nigeria’s spiritual, social, and political life.
During colonial and post-colonial upheaval, Yoruba art was often marginalized or destroyed. It was seen as a relic of the past, conflicting with modernity.
However, movements such as the Osogbo Art Movement (mid-20th century) sparked a cultural revival. Artists blended traditional Yoruba aesthetics with modern styles, turning art into a medium of cultural preservation and celebration.
Today, Yoruba art is recognized as living heritage, bridging traditional practices with contemporary relevance.
Religious Iconoclasm
Traditional Art and Orishas
Yoruba traditional art is closely linked to the Orishas, the deities of Yoruba spirituality. These deities and their representations often conflicted with the teachings of Christianity and Islam.
When these religions became dominant in the 1900s, objects associated with Orisha worship were specifically targeted for destruction.
Christian Iconoclasm
In Evangelical Christianity, conversion involved rejecting Orisha worship and surrendering sacred objects. Mass iconoclastic revivals led by figures like Apostle Joseph Ayo Babalola featured the destruction of:
- Masks
- Leather wallets
- Shrine figures
- Other ritual artifacts
Muslim Iconoclasm
In contrast, Islamic influence in Yoruba culture generally adapted Orishas into Islamic frameworks, labeling them as Maleka (angels) or Anjou (demons). Thus, widespread Islamic iconoclasm is not evident in Yoruba history.
The Reinvention of Images in Yoruba Culture
Under British colonialism, many Yoruba sculptures—especially those representing deities like Osun, the river goddess—were demonized or destroyed.
In the post-colonial era, a tension developed in Osogbo between:
- Artists embracing modernist Christian imagery for global appeal
- Artists resisting colonial ideologies, rejecting Yoruba traditional art as primitive
This iconoclash sometimes morphs into iconoclasm, where Christian leaders destroy religious images resembling precolonial icons. An example is Rev. Fr. Adebayo, who destroyed an image of the Virgin Mary he deemed \"fetish-like.\"
Such acts reflect the continuing struggle between traditional Yoruba identity and post-colonial religious norms.
Modern-Day Implications
Yoruba iconoclasm has resulted in the loss and displacement of significant cultural artifacts.
Due to colonial looting, many African artworks reside in European museums, often treated as trophies of conquest.
Contemporary Debates
There are active campaigns for repatriation—the return of stolen artworks to their countries of origin. Supporters argue that:
- Repatriation helps restore cultural dignity
- Local communities should decide the fate and display of returned artifacts
Art historians advocate a community-led approach to reinstate and interpret returned art within its original context.