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SACRED ADE-ILEKE ISENBAYE-NLA ONIRORO: ANALYSIS OF ONA CREATIVITY TO 

EMBELLISH YORUBA HISTORY, PHILOSOPHY AND SYMBOLS  

 

Opadosu James Omoniyi 

Department of Fine and Applied Arts, Federal College of Education (Technical) Akoka, Yaba, Lagos 

Doctoral Student: Department of Creative Arts, University of Lagos, Nigeria. 

iyiomoopa@yahoo.com 

& 

Akande Olasupo Abiodun Ph.D 

Associate Professor Art History, Department of Creative Arts,  

Faculty of Arts University of Lagos, Nigeria. 

Akandeabioduno@gmail.com 

& 

Adenle John Oyewole Ph.D 

Associate Professor of Sculpture, Department of Creative Arts,  

Faculty of Arts University of Lagos, Nigeria. 

jadenle@unilag.edu.ng 

 

Abstract 

Ade-ileke isenbaye-nla oniroro (big ancient conical beaded crown with veil) is a product of Ona creativity. It remains 

an important and valued artistic object designed for the Yoruba Oba (king), the royal palace and the community. It is 

a sacred object of kingship from the ancient time till date. Unfortunately, the value accorded ade-ileke (beaded crown) 

among contemporary Yoruba people and artists is gradually declining as a result of assimilated foreign artistic 

concepts and influences. However, the contemporary Ona artists who formed Onaism as a movement give high 

recognition to ade-ileke isenbaye-nla oniroro, not only as a product of informal training but as an important object 

that bears meaningful images, signs and symbols embodying Yoruba history, philosophy, culture and world view. 

This paper in analysis engages the Theory of Iconology, popularised by Panofsky in 1932 which provides meaning to 

icons at three levels of meaning. It identifies ade-ileke isenbaye-nla oniroro as a product of Ona. It further projects 

the importance of ileke (beads) within the Yoruba world view as well as identifies and discusses some of the iconic 

representations on ade-ileke isenbaye-nla oniroro of Omu-Aran, Aran-Orin and Arandun; the three historically 

connected towns located in Irepodun Local Government Area of Kwara State to project ade-ileke as an art object that 

records Yoruba history, philosophy and world view. It recommends that beadmaking be included in the curriculum of 

visual arts, youths be encouraged to participate in cultural activities as well as recognise and respect ade-ileke a living 

heritage of the Yoruba royal institution,    

Keywords: Ade-ileke isenbaye nla oniroro, Onaism, Icons 

 

Introduction 

Ade-ileke isenbaye-nla oniroro (huge conical beaded crown with veil) which Drewal (1998, p. 201) tagged adenla is 

a sacred Yoruba royal artistic headwear purposely designed to adorn the head of the king. It serves as an object of 

identity and a representation of the attribute of the sacred Kingship (Adediran 1998, p. 9; Poynor, 2008, p. 239) Ade-

ileke (beaded crown), which represents a symbol of unity, leadership and political authority is made up of ade-ileke 

isenbaye-nla oniroro and ade-ileke kekere (small beaded crown) also named orikogbofo (coronet) (Drewal 1998, p. 

201). These two types of ade-ileke are symbolic of the hierarchies of the Yoruba Oba (Kings) and are regarded as the 

most prominent and valued of the different Yoruba ade (crown) (Abiodun, 1994, p. 77; Afolayan, 1998, p. 20). 

Ade-ileke is a product of Ona creativity. Ona, according to Babayemi (1992: p.1) is a Yoruba word meaning art. Ise-

ona (work of art) is significant as a means of representing and preserving aspects of Yoruba culture, especially from 

Yoruba worldview, history, philosophy, religion, economy and social activities. Ade-ileke remains an ever-living art 

object, which from the ancient Yoruba society up to the modern and contemporary times, expresses the history, 

philosophies and cultural life of Yoruba kingdoms and communities.  

 

The invention of ade-ileke according to Yoruba mythology dates back to the time of Oduduwa the acclaimed 

progenitor of the Yoruba race. The commissioning and use of ade-ileke by the Oba (king) continue to the 

contemporary time. Beier (1981, p. 35) captures the art of crown making among Yoruba asindemade (beaded crown 

makers), arguing out that commissioning and production of ade-ileke would not undergo the danger of extinction, in 

as much as the tradition of Yoruba kingship exists. Beier (1981, p. 35) posited that the Oba would always add to his 

ade-ileke and other beaded royal treasures as desired. 

mailto:iyiomoopa@yahoo.com
mailto:Akandeabioduno@gmail.com
mailto:jadenle@unilag.edu.ng


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Meanwhile, Ona is expressed in different forms; visual and non-visual, images, signs and symbols. Ona is visually 

rendered in different artistic expressions. Also, Ona is not restricted to visual arts imagery such as in wood carving, 

pottery, metal works (blacksmithing, goldsmithing, brass and copper casting), body marking, cloth weaving and cloth 

dying, sewing/tailoring and embroidery alone. It is also found in bead and beaded crown making as well as in dance, 

songs and singing, making of drums and drumming as well as poetry that characterizes the Yoruba cultural cycle. 

Interestingly, the visual and non-visual artists are known by names associated with Ona. Such names include 

Gbenagbena (wood carver), Onisona (craft worker), Olonade (maker of art), Onawumi (One who likes art) among 

others. Other practitioners in the field of traditional arts and crafts such as weavers, calabash decorators, potters, 

blacksmithing, and basket weavers among others, are said to have ojuona (artistic eyes) (Babayemi, 1992: p. 1). The 

implication, therefore, is that Yoruba artists are well known in Ona, which is not just “art for art’s sake” but 

expressions of Yoruba philosophies, concept and ideas filled with meanings rooted in social, political, religious and 

other aspects of Yoruba cultural beliefs.  

 

Onaism, is a Yoruba modern art movement founded by five graduates of the University of Ife (now Obafemi 

Awolowo) in 1989 at Ondo. The pioneering artists as noticed by Azeez (2007, p. 82) include Kunle Filani, Moyo 

Okediji, Tola Wewe, Bolaji Campbell, and Tunde Nasiru who were later joined by other artists such as Moyo 

Ogundipe, Tayo Ojomo, Don Akatakpo and Idowu Otun among others. Onaism agreed to deliberately project Yoruba 

traditional icons, signs and symbols in history, philosophy, and beliefs, this has now been synthesized in modern and 

contemporary artistic renditions. It is a movement that explores the decorative motifs, ornaments, patterns and designs 

peculiar to the rich Yoruba culture as posited by Azeez (2007). Adeyemi (2007, p 112) buttresses that Onaism engages 

Yoruba concepts of design and aesthetics in contemporary Nigerian art manipulation. Onaism can therefore be 

described as a projecting and synergizing movement infusing ancient traditional images, signs and symbols into 

modern artistic forms of expression such as Painting, sculptures, ceramics, textile and graphic designs. 

 

Many Yoruba history and philosophies are connected through, songs, dance, drumming, and their poetry are expressed 

through Ona in the form of icons, images, signs and symbols. The representations of which cut across many traditional 

art and craft expressions. Emphasis on the representation and use of traditional icons, signs and symbols are evident 

in contemporary Nigerian artistic expressions. Unfortunately, Yoruba artists are gradually declining as a result of 

assimilated foreign artistic concepts and influences.  It is worth noting today that many young Yoruba artists could 

not understand or articulate the complexity of the sophisticated concepts and philosophies underlying the Yoruba 

worldview of arts in terms of its creativity, aesthetics, and functions (Abiodun, Drewal, Pemberton 1991: 8) which are 

emphasized and symbolically represented through icons, images, signs and symbols expressed through different forms 

of Yoruba art.  

 

Modern and contemporary artistic training especially at the four walls of formal education did not emphasized the 

study of bead-making that serves kingship, traditional cults, groups, individuals and societies as an area of 

specialization. Creation of synergy between educational institutions impacting art education and families of traditional 

crown makers which would enhance the documentation of processes and products of the art of bead making and its 

symbolism in the global world of art that has been neglected.  

 

This paper therefore aims to identifying and analyzing selected images, signs and symbols of Ona expressed on ade-

ileke isenbaye-nla oniroro to project ade-ileke as an instrument of recording, emphasizing and projecting Yoruba 

history, philosophies, politics and worldview. 

 

This paper is significant to the younger generation of Yoruba people who are not familiar with the history and 

relevance of Ona (artistic embellishments and processes) as a movement and its iconographic representations on 

traditional ade-ileke isenbaye (ancient beaded crown) within the purview of their significance to the cultural values of 

the Yoruba. It is also significant to the Oba and his subject, the historians and the academic community as it projects 

the Yoruba culture that is gradually and stylishly declining as a result of the acceptance and assimilation of foreign 

cultural values at the detriments of the Yoruba history, philosophy, religion, economic and cosmological world view.  

 

Theoretical Frame Work 

This paper is based on the Theory of Iconology, popularised by Panofsky in 1932 which provides meaning to icons at 

three levels; primary or natural subject matter, secondary or conventional subject matter as well as intrinsic meaning 

or content (Panosfky 1972, pp.7, 8). At the primary level, the theory emphasizes formal analysis of images signs and 

symbols beyond their facial values. Elements of art such as line, shape, colour, texture and volume employed as tools 



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for representing objects are analyzed at the primary level. The secondary level of meaning refers to the motifs used at 

the primary level as images, stories and allegories associated with themes and concepts of icons with associated literary 

sources emphasized. The third level of meaning emphasizes intrinsic meaning of icons in the mind of people which 

are not documented. The second and the third levels of meaning of iconology are important to this study because they 

are precursor to the areas under investigation. 

 

Ade-ileke Isenbaye-nla Oniroro: A Product of Ona 

The process of making ade-ileke isenbaye-nla oniroro as a product of Ona is painstaking. Drewal (1998, p. 64) 

emphasizes that the making of ade-ileke is slow, tedious and figuratively requires heavy work that could last up to six 

months. The process of making ade-ileke isenbaye-nla oniroro requires patience (suru), attentiveness (ifetisile) and 

finesse (finfin) in the setting of the beads. The rigour can be likened to the Ona processes in wood carving. Drewal 

(1998, p. 64) points out that beading is a medium of expression for cool and well-composed specialists like Olokun 

(goddess of the sea, source of wealth, and provider of the glass and coral beads); the patron of bead makers and artists. 

Other deities involved in making ade based on the material used include ogun, obalufon and obaluaye (Drewal, 1998: 

54). Drewal reasoned further that, bead artists are masters of physical and metaphysical experiences by medium.  

The making of ade-ileke ienbaye-nla oniroro takes considerable time. It starts with the construction of a frame with 

silt palm reeds covered with layers of woven fabrics stiffened and secured with corn starch paste (agidi or eko). The 

inner part is laid with white cloth and sun dried while the eyes of the frontal face and other important features on ade-

ileke isenbaye-nla oniroro are built in relief using cloth, starch and beads (Beier 1981: 34). White cloth used denotes 

the colour of the beginning of life or existence, rebirth, purity, newness and renewal liken to shining stars and rebirth 

of the human soul to perform a different destiny as well as a representation of concealed powers of mothers (witches) 

(Drewal 1998, pp. 64, 201; Campbell 2008, pp. 46, 47). Rituals before sewing of beads include prayers offered to 

ogun, the god of iron and patron of users of needles, and offering of gifts such as snail fluid for composure and tortoise 

for wisdom in carrying out the job which Drewal (1998, p. 64) describes as made through “knowledge techniques and 

materials”. 

 

Ileke (Beads) and their Importance 

The importance of ileke goes beyond its aesthetic significance in dressing and fashion, but its functional purposes are 

more visible in Yoruba political expressions, especially in the hierarchies of Yoruba Oba and other royal and palace 

significance. The privilege of using ileke and objects made of ileke is also significant among representatives of the 

gods such as kings, priests, diviners and native doctors (Lyndersay, 2011 p. 316). Others include chiefs, individuals 

(ordinary or wealthy) as well as social groups who embrace the products of asinde (bead makers). Decorative artistic 

expressions on the sculptures of Ile-Ife and Esie are reflections of the importance of ileke in ancient Yoruba culture 

(Fagg 1980, pp. 9, 10).  

 

Ileke, either local or foreign, traditional or modern, small or big come in colours that are significant in Yoruba culture 

and worldview. Ileke, produced in different types, sizes, shapes, colours and purposes are classified by name in Yoruba 

land as captured in Drewal (1998, pp. 17, 39, 47, 48). Such names of beads include iyun (coral bead), okun (red stone 

bead) (p. 17), akori which Drewal (p, 39) described as elusive, expensive and rare Segi (blue/black glass bead) (p. 17), 

sese funfun (white variety), bebe and lagidigba (p. 17).  

 

Drewal (1998) describes the colour of ileke to light as reflecting, transmitting and transforming (17). He emphasizes 

that the three chromatic groupings of the colour of ileke are (funfun (white), pupa (red) and dudu (black). These colours 

in the Yoruba cosmos are significant in understanding Yoruba art as they define and reveal the nature, character, or 

personality of things, persons and divinities (pp.18 & 20). Lyndersay (2011, p. 313) in agreement posits that the three 

Chromatic groupings are associated with tradition, symbolism and temperament.  

 

Okediji in Campbell (2008, p. 43) summarizes the hybridization of colour according to key English terms that exist 

today. For example, green is referred to as girini, blue is buluu and red is redi. However, Campbell explains that 

despite the new development, his research conducted in 1993 proves that, the tri-colour categorization of the Yoruba 

still holds.  Campbell (2008, p. 43) points out that pupa (red) stands for orisa gbigbona (temperamental orisa) known 

as awo pupa, and is represented in bright colours. Dudu stands for orisa liloworo (“moderately warm and wild-

mannered orisa”) and is referred to as awo dudu, which are represented in tones of dark colours. While funfun stands 

for orisa tutu (cool and contemplative orisa) called awo funfun and portrayed in tints of white (Campbell 2008, p. 43). 

For example, white stands for Obatala (deity of infinite patience and calm), red for Sango (deity of thunder), yellow 



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for Osun (deity of Osun River), blue for Iyemoja (mother of waters), white with red stripes for Orisa-oko (deity of 

farms) as identified by Oyelola (2010, p.106). 

 

Lyndersay (2011, pp 213, 216) paints that beyond the aesthetic level, the underlying nature and character of the wearer 

of colours either in objects made of Ileke or dyed items are revealed. For example, Lyndersay (2011, p. 316) records 

that red and orange in the category of pupa are linked with aggressiveness, blood and war, while cool greens, blue 

colours and black are mediating, as highlights of white, silver or pale grey are associated with age and wisdom (p. 

316).  In all, many colours of Ileke as expressed on ade-ileke in Yoruba culture are indicative of the oba as the father 

of all in his community, and giving insight into the nature of individuals that uses them as well as linking them with 

the deities using them as a means of identity  

 

Symbolic Representations on Ade-ileke Isenbaye-nla Oniroro of Omu-Aran, Aran-Orin and Arandun 

Images, signs and symbols are significant ona (designs) represented on ade-ileke isengaye-nla oniroro. These Ona 

convey significant meaning in Yoruba royal and community cultural beliefs that are embedded in history, philosophy 

and worldview. Some of the Ona representations are noticed on the selected ade-ileke of Omu-Aran, Aran-Orin and 

Arandun. These towns are communities of the Igbomina group of Yoruba. They are located in Kwara State and Osun 

State of Nigeria that fall to north eastern part of Yoruba land. Ona in the form of images signs and symbols as 

represented on the selected ade-ileke nla could be classified under realistic and abstracted representations that take 

the form of zoomorphic, anthropomorphic, vegetal and basic design representations.  

 
 Plate 1. Ade-ilekeIsenbaye-nla Oniroro                                       Plate 2. Ade-ileke Isenbaye-nla Oniroro Olomu  

Olomu of Omu-Aran                                                                     Alaran of Aran-Orin                                          

Source: The researcher, August 2023                                            Source: The Researcher, August 2023 

 

 
Plate 3. Ade-ildke Isenbaye-nla Oniroro, Alaran of Arandun 

Source: The researcher, August 2023 

 

Under the zoomorphic representations are depiction of buffalo and birds, human face as a feature of anthropomorphic 

representations, the floral design represents vegetal while the basic designs such as lines include vertical, horizontal 



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and zigzag lines. Identified shapes include oval shapes, circles, triangles, and diamonds, among other shapes. For this 

paper; only birds, animal figures, human faces, veils and colours will be analysed.   

 

Zoomorphic Representation as Ona on Ade-ileke Isenbaye-nla Oniroro 

Representation of Bird and Animal Figures 

Birds (Plates 1, 2 &3): Some animals according to Olusola (2005, p. 157) are divine just like humans who are revered 

and honoured. They are regarded as sacred; neither can some of them be killed nor eaten. Bird expressed on ade-ileke 

isenbaye-nla oniroro is significant in Yoruba worldview and philosophy. Bird is one of the major characteristic 

features of beaded crowns of Omu-Aran, Aran-Orin and Arandun and some notable towns in Igbominaland. 

  

Thompson in Beier (1981, p. 26) espouses that more of the interpretation of bird symbolism on beaded crown rests on 

conjecture because the precise meaning of the bird has not been given by any Yoruba king consulted. Thompson 

according to Beier (1981, p 26) argues that beyond royalty, the bird could symbolize a witchcraft instrument of attack, 

pecking at the temple of their victim, but are dominated by the royal bird which looks down on them.   Among the 

Yoruba, the bird is symbolic of the mystical power of the women's fold which could be positive or negative (Drewal 

1998, p. 202).  The mother bird at the apex of the crown is believed to guard the substances planted at the apex of the 

coned crown on which the mother bird is mounted. These three Oba, Olomu of Omu-Aran, Alaran of Aran Orin and 

Alaran of Arandun confirmed the presence of such substance in their crowns. They maintained that it is taboo for any 

Oba to look into the inner part of ade-ileke isenbaye-nla oniroro pointing out that the consequence of such is death.    

Drewal (1998, p. 202) emphasizes that the substance can protect the rightful wearer or destroy the person who wears 

the crown unlawfully. Beier (1981, p. 26) believes that the Oba could be blinded if he looks inside the crown. Drewal 

(1998, p. 202) maintains that the Oba rules with the support of awon iya (the mothers/witches represented as birds) 

whose role include “controlling, placing, protecting and sacrificing” to the crown. According to Lawal (2012, p.14), 

the bird recalls the mystical creation of land on which Oduduwa established Ile-Ife to mediate between heaven and 

the earth, while the mystical power (ase) enclosed in a calabash given to the first female enabled procreation and 

capacity to turn to a bird at night and do good or evil, a power believed to be manipulatable by the king for the good 

of all as explained by Lawal (2012, p.14). The Oba as expressed by Beier (1981, p. 28), is a healer, who is familiar 

with the power of destruction and could control the power of the witches. The Olomu of Omu-aran also explained that 

the bird flies in the air and that the opportunity is limitless. He maintains that the Oba operates in a limitless space in 

which one Oba does not disturb the other.  

 

Animal Figure 

Animal plays a significant role in Yoruba proverbs, philosophies and worldviews. Some animals are associated with 

man while some are associated with spirits. Olushola (2005, p. 164) buttresses that, the relationship between Yoruba 

hunters and animals is “deep, complex and mysterious.”  

Some of the animals associated with royalty in Yoruba land include ekun (lion), amotekun (leopard), okin (peacock), 

erin (elephant), esin (horse) and efon (buffalo). 

The main ade-ileke isenbaye-nla oniroro commissioned by the present Olomu of Omu-Aran, His Royal Majesty, Oba 

AbdulRaheem Adeoti Akolade Agboluaaje exhibits the form of efon (buffalo) expressed in two dimensions (plate 1). 

The shape of the animal is formed with lines and represented at regular intervals round the crown as part of its 

embellishments. Efon, emphasized by Olushola (2005, p. 162) is powerful and heroic in character. The oriki (eulogy) 

of efon which Olushola recalls, praises the animal as one that bleats as if it wants to rain and one that pursues one until 

refuge is taken on the tree.  The efon is relevant to the lineage of Olomu Efon and not to the entire Omu-Aran as 

pointed out by Olomu.  The history of efon according to Olomu is traced to his father who ruled in the 19th century. 

 

Anthropomorphic Representation of Ona on Ade-ileke Isenbaye-nla Oniroro 

Humam Face 

Ade-ileke isenbaye-nla oniroro of Aran-Orin and Arandun (plates 2&3) like any other Yoruba conical beaded crown 

is embellished with abstracted representations of human faces. Face representation according to Lawal (2012, p. 14) 

is a typical face, frequently associated with Oduduwa whom Drewal (1998, p. 202) pin-pointedly acclaimed as the 

first to wear ade-ileke in Yoruba land. The face expressed on ade-ileke isenbaye-nla oniroro as explained by Lawal 

(2012, p. 14) indicates the continuity of office of the oba and as the all-seeing, an interpretation of pair of eyes on each 

of the faces. The faces on the ade-ileke isenbaye-nla oniroro of Aran-Orin and Arandun are expressed round the 

crowns in an orderly arrangement, in varied sizes with bigger ones down at the lower part and the smaller ones at the 

upper part of the conical crown.  The three vertical lines below the eye on each human face takes the design of “pele,” 



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a type of tribal mark associated with the Igbomina people. Drewal recalls that the faces are reverend as ejiogbe in 

Okuku the divination sign of Okuku (Drewal, 1998 p. 202). 

 

Representational Veil  

Ade-ileke isenbaye-nla oniroro is characterized by vertical chains of beads, known as veil that runs from the base or 

fringes of the crown down. It is designed to cover the face of the Oba. The ade-ileke isenbaye-nla oniroro of Omu-

Aran, Aran-Orin and Arandun(plates 1, 2 & 3) bear this type of veil which is called “roro” in the three palaces. The 

term roro informs the name given to the crown of the three communities known as ade-oniroro. Drewal (1998, p. 

202) explains that looking directly at the eyes of an Oba when he wears a crown is a taboo. This taboo is also confirmed 

by Omolewu (2017, p. 452). The veil conceals the face of the Oba thereby making him more spiritual, protected, 

shielded and transformed into the level of the gods. 

 

Basic Design of Ona on Ade-ileke Isenbaye-nla Oniroro 

 

Lines  

A line is an element of art used as embellishment. It is a a tool for expressing designs on ade-ileke isenbaye-nla oniroro 

(plates 2&3). Line according to Ocvirketal (2006, p. 74) performs expression of value and texture. The beads arranged 

in lines depict interesting textures that add value to the crowns.  The feelings of the crown maker and the Oba who 

commissioned the work are often expressed through the expressive use of lines. The beads are usually arranged in 

lineal order that showcases different types of forms and designs as executed by the bead artist in line with the desire 

of the Oba who commissioned it.  

Vertical lines: Different types of lines have been used as sign or symbols on the ade-ileke isenbaye-nla oniroro of the 

three communities. Three short vertical lines (plate 4) are skillfully arranged and expressed on the abstracted two-

dimensional human faces designed on the surface of the crown. The lines are indicative of one of the tribal marks of 

Igbomina people named “pele” which some interviewees such as Elder Owolabi, a native of Aran-Orin suggest that, 

it could be marks on the face of Oduduwa or some other great ancestors. 

 
                                 Plate 4. Vertical lines 

Zigzag lines (plate 5): This is another type of line that characterizes the face on the ade-ileke isenbaye-nla oniroro of 

Aran-Orin (plate 2) and Arandun (plate 3). It is a motif often used on Yoruba crowns. Beier (1981, p. 28) espouses 

that either in short zigzag or in full one, such as the one that appears like entwined snake which Beier (1981, p. 30) 

posits that some Yoruba people interpret as abstraction of intertwined snakes biting each other tails. The zigzag is 

referred as interlace pattern. It appears frequently on many ade-ileke isenbaye-nla oniroro and other Yoruba art, and 

more importantly its appearance on most sacred objects such as on some items of Sango and Oya who belongs to the 

royal personages as well as on beaded bags of diviners among others (Beier, 1981, p. 28; Drewal 1998, p. 202).  It is 

symbolic in interpretation as an entwined snake. According to Drewal, it suggests the competing powers of this world 

and other worlds and epitomises both tension and resolution of conflicts, the continuity and balance of existence in 

the realm of heaven and earth. He maintains that the acceptance of interlace whose origin is traced to the Hausa, finds 

solace and “encapsulation in the fundamental Yoruba philosophical concepts about the cosmos, forces within it and 

the mediating position of the sacred rulers”. Beier (1981, p. 28) posits that interlace is clearly associated with royalty, 

or leadership with emphasis that each king is a part of unending eternal royal beings.   



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Plate 5.  Zigzag lines 

Colour 
Another element of art on ade-ileke isenbaye-nla oniroro of Omu-Aran, Aran-Orin and Arandun is the use of colourful 

beads (plates 1, 2 &3). Colour as a symbol is loaded with meanings. Each colour of ileke on the crown relates to each 

other as they create a mood or elicit an emotional response which may change when it relates harmoniously with 

others (Ocvirk 2006, p. 152). Ocvirketal (2006, p. 168) argues further that an understanding of the use of Colour is 

critical to their meaning.  Beads on their own carry colours that symbolize the characteristics of deities which the Oba 

is inseparable from. Obatala bears white colour, red for Sango, yellow for Osun, blue stands for Iyemoja, while, white 

with stripes of red stands for Orisa-Oko. The strands of beads normally distinguish worshippers of different orisa 

(Beier, 1981, p. 31).  

 

Ade-isenbaye-nla oniroro and ade-odunibile of Olomu of Omu-Aran, Alaran of Aran-Orin and Alaran of Arandun 

bears varieties of coloured beads (plates 1, 2 & 3). The colours include white, brown, blue, red, yellow, black, and 

green among others. These colours are symbolic of Yoruba beliefs, and philosophical worldviews. Beier (1981, p. 31) 

buttresses that Yoruba crowns are brilliantly colourful, pointing out that the presence of all colours on Yoruba crowns 

indicates that the different cult groups are united in the person of the Oba. More still, all tendencies and group activities 

are interwoven and interlaced to express unity and oneness of all in the community, as exhibited on the crowns.  

 

Findings and Recommendation 

Ade-ileke which Drewal (1998, p. 207) referred as adenla (conical beaded crown with veil) is known as ade-ileke 

isenbaye nla oniroro in Omu-Aran, Aran-Orin and Arandun. The efon (buffalo) symbol on the ade-ileke isenbaye-nla 

oniroro did not only take after Olomu Agboluaje but recalls his history and contributions to Omu-Aran community. 

Owing to the efficacy of the ade-ileke nle oniroro of the three towns Omu-Aran, Aran-Orin and Arandun when in use, 

kolanuts must be broken in propitiation of that ade-ileke as the Oba walks. The three vertical lines on the abstracted 

facial representation is associated with the Pele tribal marks of the area. It corroborates the scholarly position holding 

to continuity in the culture of ade-ileke and Oba among the Yoruba, the use of beads and bead making artists cannot 

seize. All put together exposes the creativity embedded in Ona and the ingenuity of the asindemade (beaded crown 

maker) in representation and conveying of history, philosophy and world view in iconic representation on the sacred 

ade-ileke. 

 

It is recommended that the royal use of ade-ileke must be recognized and respected as an important aspect of Yoruba 

culture that projects and advance the position of Oba and the community. Bead making should be introduced in to the 

visual arts curriculum of the three levels of learning in the country. The youth should recognize and participate in 

festivals to increase the almost fading knowledge of the cultural life and believes of the Yoruba community.    

 

Conclusion 

Ona, a popular Yoruba word that refers to art and creativity played critical roles in the making of ade-ikeke isenbaye-

nla oniroro which is an embodiment of images signs and symbols purposely designed and embellished on ade-ileke 

isenbaye-nla oniroro; a significant and more valued sacred object used in the Oba’s palace. The process of production 

commences with the commissioning of the ade to the asindemade who practice without learning the art from in the 

four walls of the formal academic community but from a master artist who produces creative works in ileke. Based on 

the theory of Iconology, the researcher points out the importance of ileke with an emphasis that colourful ileke bears 

significant meanings on the ade-ileke isenbaye-nla oniroro of Omu-Aran, Aran-Orin and Arandun, while the images, 

signs and symbols embellished on the ade-ileke isenbaye-nla oniroro of the three communities are carriers of 



AWKA JOURNAL OF RESEARCH IN MUSIC AND THE ARTS (VOLUME 17 ISSUE  2, NOV, 2024) 

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meanings that are peculiar to Yoruba, history, philosophy and worldview. It finally projects its findings and 

recommendations.   

 

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