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Opening Paragraph During my field study of Yoruba art (1955–7) little of the symbolic meaning of the forms and component elements of the ritual sculpture was revealed to me through straightforward answers to straightforward questions. Indeed, it soon became evident that if meaning with any degree of resonance was to be arrived at, such a technique had to be abandoned in favour of an interpretative analysis in relation to myths and praise songs on the one hand, and the observation of the use of sculpture in ritual on the other.
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