The Politics of Patronage and the Igun Artworker in Benin City

Abstract

The contrast between kings of the old empire state of Benin and the politics of patronage in Benin City in the twentieth century has had its effects on the traditions of Igun, the brass-casters guild. However, the shift in their fortunes caused by the fall of Oba Ovonramwen (1897) and the subsequent renaissance by Obas Eweka II (1914– 1933) and Akenzua (1933–1978), who opened the market for non-royal patronage, is still playing out. Today, works by Benin casters commemorate the traumatic events in Benin history in monuments and sculptures. They sell their products to an outsider market as well as to Nigeria’s nouveau-riche, among them portraits in brass. To the twentyfirst century Igun artist, portraits of governors are no less historical documents than those of Oba Esigie (1504–1547) and his mother Queen Idia. These are the two extremes of one continuum, represented here in photographs with extended captions that evoke historical contexts and explore these fascinating processes. The brass workers’ guild is located on Igun Street in Benin City, a destination for tourists and scholars from all over the world. Obas Eweka II (1914–1933) and Akenzua (1933–1978), father and grandfather of the current Oba, opened the market for non-royal patronage, enabling the guildsmen to survive and, in time, to thrive. It is a common feature to find there a crossover of traditional and contemporary artists today.