An oba’s coronation: A tale of two generations of photographers

The Bini tradition is one that many celebrate as still maintaining its core cultural aesthetics in spite of modernity and the various trends that have come with time. The ceremonies and events which chronicle the coronation of an oba is an integral part of the culture and life of the people.   Two photographers, Tam […]

The Bini tradition is one that many celebrate as still maintaining its core cultural aesthetics in spite of modernity and the various trends that have come with time. The ceremonies and events which chronicle the coronation of an oba is an integral part of the culture and life of the people.  

Two photographers, Tam Fiofori and Osbert Ogedegbe – the former a professional and the latter an amateur who documented the same kind of coronation ceremony in the kingdom, almost four decades apart, share their experiences, cataloguing history. 

Fiofori said he felt a combination of cultural satisfaction and immense artistic fulfillment documenting the coronation 37 years ago.

He said: “I grew up in Benin and I greatly admired the Bini culture and, the Oba with much reverence even though he was rarely seen in public then. My father had a good and strong relationship with Oba Akenzua II and his children. So, photographing Oba Erediauwa’s coronation was my highest point of cultural satisfaction.”

For the then youngster in his early 30s on a self-funded mission, the challenge to be boy-scout-ready, spontaneous and the sheer grandeur with the scale of events and being able to function under pressure within a mammoth crowd, has been his greatest challenge and the most difficult as a professional photographer. 

The septuagenarian said: “I am very proud it turned out to be my most artistically fulfilling in terms of the results and images I achieved, using analogue cameras and celluloid 35mm film. For processing convenience, I shot mostly in black and white. 

“It was thrilling to document history being made; the coronation of one of the world’s most historic and famous monarchy happening in my own territory, so to speak.

Ogedegbe, a civil engineering and amateur photographer said he got into photography because it enables him capture memories he associates with.

This was part of the motivation to document Oba Ewuare II’s coronation. 

He said: “I decided to document the coronation ceremony because I am a proud son of the Benin Kingdom. Notwithstanding, this event gives a wonderful preview into the rich culture and history of the Bini people.  The inspiration to document this event came also as a result of the need to have something to teach and show the upcoming generation about the Benin culture and tradition through pictures and words.

Being a “homeboy,” operating as a guerilla documentary photographer, sheer boldness prevented Fiofori from the fear of being fined or committing a taboo.  “You need to get spectacular photographs. I looked and behaved like a true professional; with my battery of four camera-bodies and numerous lenses. I wasn’t intrusive and was always in motion,” he said.

This was not much of a problem to contend with at this year’s event. 

The photographers share their thoughts on both ceremonies. 

“The 1979 coronation was more intimate with the crowd. People were close enough to literarily touch the new oba and see him very clearly. This time it was a distant event with the multi-mammoth crowd heavily controlled by armed security officials – sometimes overzealous. It had the air of a show business celebrity affair. 

Rather than the almost personal contact, this time giant TV screens provided some succour for the teeming crowd of spectators.

On the challenges with accomplishing his mission at the event, Ogedegbe said: “Although I got several detailed shots, I was unable to get as much as I would have loved to. The presence of dignitaries which gave rise to a very high level of security with major roads condoned off, made the documentation process sometimes tiring. Nonetheless, I captured it well enough to portray its importance and for the upcoming generation to learn the need to embrace and appreciate their culture.”

Ogedegbe said: “Basically every scene/shot was difficult to capture because as the coronation was ongoing there were some constraints encountered due to the high level of security, the  long procession and the ‘inconveniences’ of our weather posed difficulties but nonetheless I had to capture these beautiful moments and scenes because they’re really wonderful sights to behold.”

Although, Fiofori decided he wouldn’t do much photography at the event and mostly wrote this time, he said there were some images he wished he captured. 

“The sight of a supposedly fearful medicine-man in his cowry-shell and other magical paraphernalia-adorned costume; pulling out a mini iPad to photograph the new Oba as he walked majestically past him, is something I wish I captured. My heading was swirling at the humour and juxtaposition of both worlds presented in the image before me,” he said. 

He said also missed a great shot of an Ekasa troupe walking single-file, down a busy crowded Mission Road, a few days after coronation day. Notwithstanding, his 1979 Ekasa Coronation Dance parade were more spectacular than the 2016 version.

His intimate close-up photograph of Oba Erediauwa on the symbolic bridge at his first public outing after his coronation is Fiofori’s most exciting part of the 1979 coronation. When the late Oba saw a near life-size print of this photograph exhibited in his palace in 2010 [31 years after], he turned round and asked me in appreciation, “you mean you were there?” I was thrilled, more so, as he bought and paid handsomely for the print.”

For the celebrated photographer, the sheer size of the crowd, overwhelming impact of splendour, pomp and modernity including a completely redesigned palace were things that were different for­­. There were more than 700 dignitaries, kings, ambassadors and celebrities from all over the world confirming the special status of the 2016 coronation.

Explaining how it felt being in the audience and not photographing the event this time around, Fiofori admitted that: “It felt rather odd. I missed the buzz and the adrenaline-induced thrill of a hunter intensely searching for images to permanently capture. I saw so many missed images though without much regret. I admired the way some other younger professionals, including women, worked and, I was amazed by the thousands of cellphone cameras being operated by all manner of young and old male and female spectators.”

On the most difficult part of photographing a coronation, Fiofori said it is anticipating that moment when once-in-a-lifetime gestures and incidents happen and, being able to incorporate the presence and activities of the officials and attendants to the Oba, as well as the look of awe on the faces of the spectators in the crowd.

Something about the ceremony from 37 years ago, that still makes him happy is the fact that he had honed his skills well enough to take many important once-in-a-lifetime coronation shots ‘blind’. He said: “This is in the sense that I shot with analogue cameras and celluloid film and, could not see the results until after I got back to Lagos and processed the films. Yet, all the images came out right, properly exposed, creative and beautiful. This remains my happiest achievement of the 1979 coronation.

His favourite image from the 1979 event is: “My now iconic photograph of a new Oba Erediauwa on the symbolic bridge – which, naturally, I used for the cover of my book ‘A Benin coronation: Oba Erediauwa.’

“It is a photojournalistic work on the 1979 coronation, which is now world-acclaimed as a trail-blazer!”

The works of both artists also showed the originality and the unadulterated culture of the Binis as it was visible from the various images how well, the tradition has been sustained. 

Regardless of societal standing, personalities – as depicted in the images – who had roles to play in the ceremony did so effortless in the costumes meant to carry out such responsibility. For that day, it didn’t matter if they were bare-chested, or had to adorn themselves in cowries or raffia, as long as it was in their lineage they fulfilled these obligations with as much grace in the 2016 photos of Ogedegbe as their forefathers did in the 1979 shots of Fiofori. 

It was also clear from Ogedegbe’s images that the coronation this time went beyond an event for the Binis and was celebrated all the way to northern and eastern Nigeria, among others with a durbar and traditional dances.