By Abdulkareem Ikharo

Numerous discoveries by archeologists and ethnographers across the globe turned out with different meanings and interpretations. While some are attributed or analyzed from scientific point of view, others are based on historical or religious beliefs, a large extent, others are mythical. The discovery of a collections of soap stones images of humans and animals numbering between 1000 and 1500 in Esie in 1775 is one among several of the discoveries that is still subjected to several debates and diverse opinions.

While several claims they sculptures carved artist from the Old Oyo and Ife, others argued that the images were humans turned to soap stones for several reasons or the others. Generally known as homeland of soapstone figures, Esie is occupied by the Igbomina a Yoruba ethnic sub-group close to Offa in Kwara state in the west-central Nigeria bordered in the east by Kogi state and to the north by Niger state. The group’s settlement in the location is dated back to over 300 years ago.

Their prominence today is attributed to the discovery one of the world largest single collections of sculptures by Prince Faragbon a hunter during his search of water in the quiet groves near Esie in 1775. This narration to studies resonate more with the earliest community more than the version that claimed the images were discovered around 1911 by a German ethnologist archeologist Leo Viktor Frobenius who had several successful expeditions in Africa particularly in Ife Kingdom and several other African countries.

Esie soapstone sculptures is one of the most popular Yoruba religious art form made from steatite also known as soaprock of different sizes and shapes consisted of men, women, children and animals of which majority are in sitting positions while others are on their knees where they were discovered. Similarly, several of the objects are holding one equipment or tool ranging from musical instruments, tools for farming etc. Majority of the figures have similar facial horizontal scarification between their eyes and their ears.

Several of them are wearing beads, bracelets and necklaces which depicts affluence. Several of the figures ranging between 20cm to 120 cm consist of men, women and children with majority particularly the adults sitting on stools. Some of the figures particularly the children are nude and in kneeling position. Stylistically some indicate different styles which indicates they could be works of different artists from different background if they were in the first place works of art.

Virtually all the images are soapstone images or sculptures found with their heads separated from the rest part of their bodies which indicates that they might have experienced violent contact and impact by opposing group like invaders or in spread of foreign religion by missionaries. Overall, the collections depict the different tribes and categories of people found in the community through their appearances.

This is evident in the facial designs or scarification and mode of dressings and appearances which distinguished the high class and lower class among the people. This is also portrayed through their hairdo and heavy beads around their necks signifying affluence or royalty while the low class are without such adornment. The stratified setting also portray an organized and rich community living in peace and harmony.

Till date researchers and other stakeholders are still faced with the challenge of the true narration or information of these images. Several conflicting and interwoven opinions, assertions and interpretations in respect of the origin and existence of these images have postulated. While several opined that the soapstone figures were carved between 10th and 11th centuries, evidences provided by archeologists on the other hand posited that the stone sculptures fragments were found between 16th and 17th century AD.

Similarly, several arguments and theories alike have been postulated by various theorists and the community themselves. Some averred that the figures were once a group of people in the community that were turned to stones as a curse by the gods for the sacrilege or serious offence they committed. This position is not too different from that of the legendary perception that the objects are a group of evil-doers that were turned to statues by the gods.

Also, a third interpretation of local tradition is that the statues were human beings who turned into stones to avoid being captured by some invaders while yet another version asserts that the objects were a group of white slave traders that were turned to stones. A later version popularly considered as logical by many researchers is of the view that the stone are sculptures carved by local artisans of the community using probably the available local talc-schist.

The interest and subsequent efforts of H.G Ramshaw a missionary in Nigeria created a major awareness and interest of historians and archeologists in 1933 which led to to the provision of shelter for the images by the government in 1937. This also led to the establishment of a museum in Esie in 1945 which also became the first museum in the country to house the figures and also protect the heritage.

The museum built close to the site till date is reputed with the largest number of soapstone figures in the world ranging between 1000 and 1500 figures. Several of these collections can also be found in National Museum Onikan Lagos and outside the country is Metropolitan Museum of Art in New York, the United States

It is worthy of note that studies have showed that today’s Esie community claims to have met these sculptures on arrival at the settlement during the reign of the then Alaafin Abiodun from Old Oyo dating to over 300 years ago. In their view community the images possess supernatural powers to commit atrocities that could be reverted to good if they are worshipped and appeased.

This therefore over these many years motivated the locals to set the months of March or April for the annual worship of the images. The major performance during annual event [Odun Ere] is in form hunting usually done around the images. The yearly traditional practice by the people is to appreciate the images for their guidance and protection over the past year and to also seek for further protection and guidance ahead of the coming year.

Whether humans turned to stones as a curse or for self-defense or rather pure works of arts by local artisans or explorers, the images or sculptures discovered in Esie groves in 1775 today known as Esie soapstone collections remains one of the biggest yet to be resolved mystery in Africa and Nigeria in particular.

Like the Nok terracotta sculptures of Nok culture, Ife bronze and terracotta in Ife, Igbo Ukwu bronze of Igbo Ukwu, all identified as art cultures of various ethnic groups in Nigeria, Esie soaps stones attributes and claims of being humans turned to stones clearly remain a mystery to scholars and stakeholders. The question one may then asked is if these stones were carved by artisans how did they get to Esie groves in such volume since investigation carried by Philips Stevens on behalf of Nigerian Department of Antiquity [NDA] now National Commission for Museums and Monuments [NCMM] disclosed no evidence of steatite stones deposit in Esie groves and environs irrespective of the suggestion of Old Oyo as their original home by a group that claim they were carved by artisans with no such evidence or discovery of similar carvings in Oyo.

On the other way round if these images were actually humans turned to stones, how could majority of them be found in such an arranged cyclical form in a small location with so many in sitting position and closely organized. These are unresolved mystery waiting to be demystified one way or the other.

Abdulkareem A. Ikharo is a Chief Curator with the National Commission for Museums and Monuments, (NCMM) Abuja.