Exploring the cultural and spiritual symbolism of Eshu, the Yoruba deity who bridges heaven and earth
The sculpture in question represents Eshu, also known as Elegba, one of the most complex and revered deities in the Yoruba religion. Eshu occupies a vital role in Yoruba cosmology as both a trickster spirit and a divine messenger, embodying the balance between chaos and order, mischief and wisdom, justice and communication.
Eshu: The Divine Messenger
In Yoruba belief, Eshu serves as the intermediary between humans and the gods (Orishas). No prayer, offering, or ritual can reach the higher deities without passing through him. This role as a cosmic gatekeeper makes Eshu indispensable to the Yoruba spiritual system.
He ensures that divine messages are properly delivered and that sacrifices reach their intended recipients. However, if ignored or disrespected, he can also disrupt communication, causing confusion or misfortune. For this reason, Yoruba devotees always begin their rituals by honouring Eshu first, a practice that underscores his spiritual authority.
A Trickster and Guardian
Eshu’s personality embodies duality—he is both a protector and a provocateur. Known as the trickster god, he uses cleverness and unpredictability to teach lessons about morality, fairness, and human nature. His tricks are never random; they serve to remind people of the consequences of dishonesty, pride, or neglect of spiritual obligations.
Despite his reputation for mischief, Eshu is a benevolent guardian who defends justice and ensures balance between good and evil. He is particularly associated with communication, truth, and reciprocity, symbolising the complex moral fabric of Yoruba philosophy, where opposites coexist in harmony.
Eshu in Yoruba Art
The Yoruba people of Southwestern Nigeria, primarily in states such as Oyo, Osun, Ogun, and Lagos, have a long-standing artistic tradition where spirituality and aesthetics merge. Sculptures of Eshu are a crucial part of this tradition, often made from wood, metal, or clay, and adorned with symbolic motifs such as cowrie shells, beads, and iron rods.
Eshu sculptures are typically characterised by exaggerated facial features, representing his watchfulness and ability to perceive hidden truths. The dynamic poses and intricate designs reflect his vibrant personality and spiritual energy.
Shrines dedicated to Eshu are often placed at crossroads, home entrances, and marketplaces—spaces where boundaries are crossed and communication occurs. These locations emphasise his role as a deity of transitions, movement, and choices.
Cultural Symbolism and Global Influence
Eshu’s influence extends beyond the Yoruba homeland. Through the transatlantic slave trade, the worship of Eshu spread across the Americas and the Caribbean, where he evolved under various names, such as Eleggua in Cuba’s Santería religion, Legba in Haitian Vodou, and Exu in Brazilian Candomblé.
Despite the different contexts, his essence remains consistent: Eshu is the divine messenger who mediates between the spiritual and physical worlds, ensuring that balance and justice prevail.
His adaptability across cultures demonstrates the resilience of Yoruba spirituality and its ability to evolve without losing its core principles.
Modern Interpretations
Contemporary Yoruba and Nigerian artists continue to reinterpret Eshu’s image through sculpture, painting, and performance. Artists such as Ajibike Ogunyemi of Osogbo—a member of the New Sacred Art movement—draw inspiration from deities like Eshu to merge traditional spirituality with modern creativity.
Through such artistic expressions, Eshu remains not only a religious figure but also a symbol of cultural identity, resilience, and creative expression.
Moral and Cultural Reflection
Eshu’s story serves as a profound reminder that communication, justice, and wisdom often require embracing both light and shadow. His trickster nature teaches that life’s challenges are tests of character, and true understanding often comes through confusion and correction.
In Yoruba thought, Eshu’s duality symbolises the reality of existence—nothing is purely good or evil, and every action carries consequences. Respecting Eshu means respecting the delicate balance that sustains both the spiritual and physical worlds.
References:
Lawal, Babatunde. The Gelede Spectacle: Art, Gender, and Social Harmony in an African Culture. University of Washington Press, 1996.
Drewal, Henry John. Yoruba Ritual: Performers, Play, Agency. Indiana University Press, 1992.
Smithsonian National Museum of African Art archives on Yoruba sculptures.
A timeless coming-of-age novel that explores character formation, humility, and the transformative power of discipline in postcolonial Nigeria.
Published in 1973, The Potter’s Wheel by Chukwuemeka Ike remains one of the most celebrated Nigerian novels of the 20th century. Set in Eastern Nigeria, the novel captures the cultural values of discipline, humility, and moral upbringing in a society adjusting to modern life after colonialism.
Chukwuemeka Ike, a distinguished Nigerian author and educationist, was known for blending humour and realism to examine the social and moral challenges of postcolonial Nigeria. In The Potter’s Wheel, he uses a simple yet powerful story to reflect on how society shapes individuals — much like a potter moulds clay into form.
Plot Summary
The story revolves around Obuechina Maduabuchi, fondly called Obu, a pampered and mischievous young boy from Umuaro village. As the only son of wealthy parents, Obu grows up indulged and undisciplined. His father, unwilling to watch his son become wayward, decides to send him to live with Mr. and Mrs. Okonkwo, the strict village schoolmaster and his wife, so that he can learn discipline, hard work, and respect.
At the Okonkwos’, Obu’s life takes a dramatic turn. Gone are the days of comfort and pampering; instead, he faces chores, stern correction, and strict routines. The Okonkwos, acting as moral potters, begin to mould the once-spoiled boy into a responsible young man.
Through several trials — from cleaning, running errands, and attending school to facing punishments for his stubbornness — Obu gradually learns humility, patience, and self-control. By the end of the story, the young boy who once resisted correction becomes a model of discipline and maturity, proving that moral transformation is possible with firm guidance.
Themes and Symbolism
1. Discipline and Moral Upbringing
At its core, The Potter’s Wheel is a moral tale about discipline. It highlights the African belief that character formation is a communal responsibility — that “it takes a village to raise a child.” The Okonkwos’ home becomes a moral training ground where Obu learns that freedom without restraint leads to self-destruction.
2. The Role of Education
Ike, himself an educationist, presents education not merely as formal schooling but as character development. Mr. Okonkwo’s firm yet purposeful methods reflect the role of teachers in shaping both intellect and morality.
3. Transformation and Growth
The metaphor of the potter’s wheel symbolises the process of transformation. Just as a potter moulds clay through pressure and patience, so too must humans be shaped by experience, discipline, and correction. Obu’s journey represents the broader human struggle to overcome flaws and embrace maturity.
4. Authority and Obedience
The novel also explores authority and the tension between individual will and societal expectations. Obu’s resistance to authority mirrors the youthful rebellion common in changing societies. However, his eventual submission signifies a reconciliation between self and structure — between freedom and responsibility.
Characterisation
Obuechina (Obu): The protagonist whose journey from a spoiled child to a disciplined youth embodies the book’s moral lesson. His transformation is gradual and believable, showing Ike’s deep understanding of human behaviour.
Mr. Okonkwo: The stern yet fair schoolmaster who symbolises moral authority. His character represents the older generation’s commitment to discipline and integrity.
Mrs. Okonkwo: A balance to her husband’s firmness, she shows compassion and maternal care, ensuring Obu’s training does not break his spirit.
Obu’s Parents: Loving but overindulgent, they represent the dangers of unbalanced parenting and the consequences of excessive pampering.
Style and Language
Chukwuemeka Ike’s storytelling combines wit, humour, and realism. His use of simple English, interspersed with proverbs and local expressions, gives the novel an authentic Nigerian flavour. The narrative tone is didactic but engaging, making the story accessible to both young and adult readers.
The novel also reflects the transitional era of 1970s Nigeria — a time when traditional values were being tested by modern influences. Ike’s balanced portrayal of tradition and modernity gives the story enduring relevance.
Cultural and Educational Significance
The Potter’s Wheel has long been a staple in Nigerian secondary schools, not only for its literary value but also for its moral lessons. It reflects core African philosophies about communal upbringing, respect for elders, and the importance of moral discipline.
Through Obu’s transformation, readers are reminded that character is not inherited but nurtured — a lesson deeply rooted in African cultural ethics. The book’s title and metaphor beautifully encapsulate this idea: humans are clay, and life is the potter’s wheel on which they are shaped.
About the Author: Chukwuemeka Ike
Vincent Chukwuemeka Ike (1931–2020) was born in Anambra State, Nigeria. He studied at the University of Ibadan and later served as an educationist, university administrator, and traditional ruler. Ike’s literary works often explore themes of education, morality, and social reform.
Some of his notable novels include Toads for Supper, Sunset at Dawn, Expo ’77, and Our Children Are Coming. His works remain influential in both academic and cultural discussions of Nigerian literature.
The Potter’s Wheel is more than just a story of a mischievous boy — it is a timeless reflection on human growth, discipline, and the communal values that shape moral character. Through Chukwuemeka Ike’s engaging prose, readers are reminded that true maturity comes from patience, humility, and correction.
Like clay in a potter’s hand, we are all being moulded by life’s experiences — shaped, refined, and made stronger with every turn of the wheel.
References:
Ike, Chukwuemeka. The Potter’s Wheel. London: Heinemann Educational Books, 1973.
Emenyonu, Ernest N. The Rise of the Igbo Novel. Ibadan University Press, 1978.
Guardian Nigeria, “Remembering Chukwuemeka Ike, the Educationist Novelist” (2020).
President Bola Tinubu has nominated Dr Bernard Mohammed Doro from Plateau State as a Minister of the Federal Republic of Nigeria.
This was contained in a letter transmitted to the Senate for confirmation, according to a statement issued on Tuesday by Bayo Onanuga, Special Adviser to the President on Information and Strategy.
Doro’s nomination follows the election of Prof. Nentawe Yilwatda, former Minister of Humanitarian Affairs and Poverty Reduction, as the All Progressives Congress National Chairman in July.
PUNCH Online compiles information about the ministerial nominee.
Political background
Bernard Doro is a community leader involved in politics in Nigeria and the UK, where he has lived for a long time.
He serves as the financial secretary of the APC UK chapter. He was appointed in June 2024.
Doro is part of the committee that organised the Nigerian Diaspora Investment & Cultural Summit 2024, which took place in Birmingham from December 4 to 7, 2024
There are rumours that he seeks the Plateau North Senatorial District seat in 2027, but he has not formally declared his intention.
Educational and professional background
Doro holds degrees in Pharmacy and Law, an MBA focusing on IT-driven business strategy, and a Master’s in Advanced Clinical Practice.
He is an independent prescriber and an advanced clinical practitioner, with frontline roles across urgent care, walk-in centres, GP practices and hospitals.
Beyond clinical duties, he has led youth mentorship and social-impact initiatives in the diaspora and at home, focusing on skills development and community empowerment.
He holds membership in local and international professional bodies, including a fellowship in the Institute of Mortgage Brokers and Lenders of Nigeria and membership in the Royal Pharmaceutical Society.
Humanitarian
Beyond politics and professional life, Doro has also led youth mentorship and social impact initiatives in the diaspora and local communities.
He founded Doro Vision Farmers’ Seed Fund, an initiative aimed to empower Plateau North, Plateau State farmers by providing financial support to enhance their cultivation efforts.
He was honoured with the Award of Excellence and Humanitarian Service by the Asiwaju Nationwide Organisation on 11th October 2025.
Origin
Doro was born on January 23, 1969, in Kwall, Bassa Local Government Area of Plateau State.
Senator Ned Nwoko has broken his silence following a viral video showing his wife, actress Regina Daniels, in distress, describing her recent actions as “drug-influenced” and “unprovoked carnage.”
In a lengthy post and a short video shared on his Instagram handle #princenednwoko on Sunday, Nwoko claimed the actress was battling drug and alcohol abuse, which he said was at the root of the crisis rocking their marriage.
“Regina was not always like this. Her current battle with drugs and alcohol abuse is the root of our problem.
“She must continue her rehabilitation programme, or I fear for her life and safety,” he wrote.
The senator alleged that Regina went on a violent rampage at their home in his absence, attacking staff and destroying property.
“She slapped and hit three staff in the past 48 hours and destroyed property, including cars and windows, for no just cause.
“Now she has moved to a place where she will have unrestricted access to drugs,” the senator alleged
Nwoko said he had offered his wife two rehabilitation options in Asokoro or Jordan, “where she will not have access to drugs.”
He further alleged that the scene at home was worsened by the interference of Regina’s associates, whom he described as “drug suppliers.”
“While I took Moon to the hospital, a scene of chaos unfolded at home, orchestrated by Sammy, Regina’s main drug supplier.
“Another known supplier of drugs to Regina is the tiny evil devil called Ann,”he alleged.
His post came hours after PUNCH Online reported that a video of the actress, visibly agitated and shouting during a confrontation, had gone viral on Saturday, sparking widespread concern.
In the footage, Regina could be heard saying, “In Ned Nwoko’s house, I am nothing, but in my own house, I am a Queen. Not again. I can’t stand the violence, it’s too much.”
Her brother, Ojeogwu Samuel Danhillman, popularly known as Sammy West, also reacted angrily on Instagram, accusing Nwoko of assaulting his sister and vowing to defend her.
“Anywhere wey man dey beat woman, whether na my sister or not, I go fight with my blood,” he wrote.
The cause of the altercation remains unclear, as neither Regina nor her representatives have publicly responded to Nwoko’s allegations.
Regina Daniels, who married Nwoko in 2019, has often been in the public eye alongside the politician and businessman.
The couple’s marriage, marked by a 40-year age gap, has long drawn public attention and debate.
