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48. Divination Portrait of King Glele as the War God, Gu (Bocio)
Attributed to Ganhu Huntondji
Fon, Republic of Benin
Copper alloy, wood; H. 105 cm (41 3/8 in.)
19th century
Musée Dapper, Paris

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48. Divination Portrait of King Glele as the War God, Gu (Bocio)
Attributed to Ganhu Huntondji

A metaphysical portrait, this work is a visual projection of a king's destiny set forth by his divination sign. During the nineteenth century, Dahomey's leadership came to rely heavily on institutionalized prophecy by adopting the divination system known as Fa. This depiction of an ambitious king in the guise of a god conveys sheer force of character and confidence, fueled by the conviction that its subject would triumph in whatever endeavor he chose to pursue. It was commissioned by Glele in honor of his father, Guezo, whose glorious reign it celebrates, one that his son aspired to follow.

Glele's reign (1858–89) over Dahomey has been described as a dynamic period of change and expansion. During his own lifetime, his reputation as a cosmopolitan leader traveled as far as the princely courts and urban centers of many of his counterparts in Europe and the Americas. Faced with fundamental challenges to the well-being of his state, Glele responded with imagination and assurance. His aspirations were to maintain Dahomey's hegemony within the region and to generate a new source of economic wealth to replace a waning slave trade. As a result, a policy of constant vigilance and military prowess preempted incursions by neighboring Yoruba Oyo monarchs, and an export trade of palm oil was developed.1

When a Dahomean king ascended to power, a prediction was made by a diviner (bokonon) about the nature and character of his reign. This was determined by his sacred personal Fa sign (du), derived from a combination of two of sixteen elemental signs. Each du is related to a series of proverbs, songs, and tales that express the salient themes associated with one's destiny. In order to ensure the well-being of the state, this sensitive information was carefully safeguarded and only imparted during a secret rite.2 The bokonon's original counsel was continually renewed to address daily developments. Awareness of one's fate afforded one an advantage in preempting potential dangers while capitalizing on potential opportunities. In their role as indispensable advisers, bokonon not only guided the lives of Dahomey's leaders but critically influenced the kingdom's position as a regional power.

In Dahomey, succession was not rigidly dictated by primogeniture. Instead, the selection process was competitive, and significant consideration was given to the character and personal qualities of individual princes.3 During Glele's youth, a diviner had predicted his kingly destiny. Glele's divination sign, Abla-Lete, indicates great strength of character and the stamina necessary to sustain demanding challenges, thus suggesting that he had the potential to take on the responsibilities of leadership and fulfill them with distinction.4 In addition, Abla-Lete is associated with worldly success and prosperity. At the outset of his reign, Glele signaled his determination to launch an invulnerable and productive career through a name adapted from a phrase associated with his divination sign, "Glele lile ma yon ze" ("The cultivated field is difficult to move").5

The king's divination sign and the bokonon's insights into that destiny inspired the design of sculptures (bocio) that served an important function (see cat. no. 40). Created by a group of specialists known as kpamegan (literally, "chief of secrets"), these objects of power fortified the state by compensating for individual leaders' liabilities.6 Accordingly, these works were displayed in royal ceremonial processions, placed at strategic defensive points in the realm, and brought to combat sites to help win battles.7

The figure shown here is one of the most visually expressive defensive icons within the extensive body of works commissioned by Glele. Originally positioned near the main Abomey gate, leading into the city from Cana, it extended protection to the king, the royal family, his troops, and his people. Its name, "Du su mon majeto" (literally, "The hole prevents the enemy from passing"), refers to its placement beside a dry moat that encircled the perimeter of the city as a fortification.8

Despite this sculpture's relatively small scale, the charismatic dynamism that emanates from it suggests a towering presence. A wooden sculpture covered with hammered brass sheets applied to the surface in sections, it was originally displayed with an array of apparel.9 These included a European hat with a broad brim, textiles draped in the manner of a cape and loincloth, and several pendants suspended from the figure's neck. In his hands, he holds two swords, with broad, curved blades, pierced by round and triangular holes. His long, thin legs are anchored to broad, flat feet. The modeled volume of his head displays features that are added or incised into the surface. His expression, with eyes closed and teeth bared, suggests an attitude of intense, concentrated effort.

Several distinctive elements are attributes specifically connected with Glele's destiny as sovereign. Chief among these are the swords (gubasa), the preeminent deadly weapon associated with the war god, Gu.10 One of Glele's Fa phrases alludes to them: "The audacious knife [gubasa] gave birth to Gu and vengeance continues." Glele interpreted this as a mandate to sustain Dahomey's martial invincibility. In fulfilling his commitment to uphold Dahomey's independent and autonomous status, he adopted the imagery of the sword as a principal motif linking his legacy with that of his father, Guezo. Glele's strength was further expressed by an iconographic element that has since been separated from the figure: one of the pendants that hung from his neck, a circular disk, the surface of which was covered with a tangled mass of interlace. The motif, referred to as togodo, illustrates the Abla-Lete phrase "The wind cannot make the mountain dance."11

The technique of encasing wood sculpture in sheet metal enabled artists at the court of Dahomey to exploit the properties of costly and precious metals by using them frugally. This method was much less expensive than the lost-wax castings commissioned by neighboring Yoruba and Benin monarchs (see cat. no. 50). In addition to suggesting the luster of royal patronage, the striking use of metal in this particular sculpture reinforces ideas of Glele's physical might suggested by the iconographic features. The traditional association of Gu with both iron and brass is even more apparent in this instance, since its metal is said to have derived from recycled spent bullets.12 It appears that the use of this potent material was further enhanced by ritual dustings of gunpowder applied to the surface in the course of war ceremonies.

1. Blier 1991, p. 45.

2. Blier 1990, p. 42; Blier 1993, p. 191.

3. Blier 1990, p. 45.

4. Remy Hounwanou, cited in Blier 1990, p. 45.

5. Blier 1990, pp. 45–46.

6. Blier 1995, pp. 311, 317, 319.

7. Ibid., p. 329.

8. Blier 1998, p. 119.

9. Blier 1995, p. 336; "Magies," exh. cat. (Paris: Musée Dapper, 1996), p. 98.

10. Blier 1995, p. 340.

11. Blier 1990, p. 45.

12. Blier 1995, p. 337.