Ọ̀SUN ÒSOGBO INTERNATIONAL FESTIVAL: A TIME OF CULTURAL RENAISSANCE
The Ọ̀SUN ÒSOGBO Festival ended about a month ago with its delight, pageantry, and customary spiritual supplications lasting for twelve days. My mind couldn't but wander to old times when excitement filled the atmosphere at Dad's mention of our visitation to our hometown.
“Ore yèyé ò,” Grandpa shouted, chanting the praise of Ọ̀sun the mother of us all while waving at an aged woman in white robes. Over the years, during our summer vacation which always falls during the period of the annual Ọ̀sun Festival, we make visits to the Ọ̀SUN Sacred Groove.
Significance
Long before time, our people embraced our indigenous gods ‘òrìsàs’ which were later termed idol worshipping as a means of communicating with the supernatural. People seek guidance and pray to the orisas who are deemed to be the manifestations of the supreme being ‘Olódùmarè’, which cannot be seen as they are intermediaries and messengers of the supreme being.
The Yoruba people are known for their rich culture of festivals which include the Ojúde Ọba Festival of Ijebu Kingdom, the Ọlọ́jọ́ Festival of Ilé-ifẹ̀, Ọ̀sun Festival among others, of which the Ọ̀sun Festival is of real significance to the Yorùbá people of the Southwestern part of Nigeria, the Yorùbás in Diaspora and all devotees around the world. Through these festivals, our cultural heritage is preserved and transmitted to the coming generations.
The Ọ̀sun-Òsogbo festival is a traditional festival that dates back to a little more than 700 years ago and is held to honor the goddess ‘Ọ̀sun’ who promised to protect the people of Òsogbo land, make the women fruitful and prosper the works of their hands. This festival is a combination of both our culture and religion as the traditional religion in our environment depicts the culture of the people.
In 2005, the Ọ̀sun Sacred Groove was declared a UNESCO World Heritage Site in recognition of its global significance and cultural value. The arrival of Ìyá Àdùnní (Susanne Wenger) in the late 1950s changed the narratives of this sacred groove from a desecrated land to a recognized monument with a large number of traditionalists and tourists from all walks of life turning this once local ceremony into an international festival.
The Origin of Osun
Ọ̀sun, coined from the word ‘Orísun’ is also referred to as Osó-igbó, the goddess of the Ọ̀sun River from whose name Òsogbo was derived, is known for blessing the barren with children, healing the sick and afflicted and prospering the ways of all those who run to her for help. Just as her eulogy goes “Yeye omo ní n gbomo”(a mother saves). She is an epitome of beauty and wealth, a leader of women, a goddess of fertility, and divinity, a healer, a dyer, and even many more.
She was born to Àké, a fearless hunter and mighty herbalist and Erindó in IIé-Ifẹ̀, Ọ̀sun, and her family left Ilé-Ifè for Òkèsù where her father first arrived before migrating to the present-day Ìgèdè-Èkìtì. The gods blessed Àké and Erindó with sixteen children, of which eight were boys and the remaining were girls. Most of these children were powerful and prominent in Yorùbá cosmology. They were Ọ̀sun, Elémi, Ọ̀gbẹ̀sẹ̀, Elerinwo, Ibaja, Òkúnsùsì among others.
Upon the death of Àké, a power tussle and struggle for leadership emerged among the siblings. In a bid for them to showcase their metaphysical powers through the use of incantations (Ògèdè) hence the name Ìgèdè was derived. After some of her siblings destroyed themselves, some turned into water leaving Ọ̀sun who later fled to Ọ̀yó,̣ and Òkúnsùsì, the youngest son to ascend the throne of his father.
However, different mythologies have sprung up in a bid to explain who Ọ̀sun was during her life, how she became a goddess, and why she is still celebrated today.
The Discovery of River Ọ̀sun
River Ọ̀sun was discovered by Olútìméhìn, a hunter from Ìpólé-Òmù in the Obòkun area during one of his hunting journeys. Ìpólé-Òmù was faced with harsh weather conditions which caused drought and famine in the land. Birds were not chirping like birds and the rats weren’t squeaking like rats. Olútìméhìn reported his findings to Lároóyè, the Ọwáròkí of Ìpólé-Òmu and suggested that he establish his kingdom around the river, an advice he yielded to.
With the fall of the Old Ọ̀yó empire, the Fulanis advanced toward the South and the people of Òsogbo sought the help of the goddess who foresaw and warned about the imminent attack. The Fulanis were eventually defeated and the people of Òsogbo gave credit to Ọ̀sun for their win. Before their triumph, an agreement was made that they must worship her annually, and in the renewal of that pact and acknowledgment of this past success we celebrate the “Ọ̀sun Òsogbo Festival”.
Ọ̀sun Celebration
The festival preparation begins in seclusion for some days by the Àtàojà ( the King of Òsogbo), the Ọ̀sun priestesses, and the Chiefs. Then, the twelve-day program commences with Iwapopo which is the ritual cleansing of the land. The second to the fifth days are dedicated to ancestors as well as Sàngó, the God of Thunder. The night of the sixth day is dedicated to Ọ̀sányìn for its healing powers through the knowledge of herbs and the lightning of the 500-year-old sixteen-point lamp (Iná Olójúmẹ́rìndinlogun) which the Àtàojà, his wives and Ifa priest will dance round three times.
The seventh day is dedicated to Ifa. The eighth day is dedicated to Ọya, a deity who was on good terms with Ọ̀sun during her lifetime. On the ninth day, the King moves from house to house with greetings starting from that of his in-laws. The tenth day is the Iboriade which is an assemblage of all the ancient and present Àtàojà's crown for rededication to the goddess and homage to the ancestors. This is followed by the final day of preparation.
On the twelfth day, the Ọ̀sun Òsogbo Festival begins with a massive procession from the Àtàojà’s palace to the Ọ̀sun Sacred Grove with the sacred ritual objects carried by the votary maid called ‘Arugbá’ which is accompanied by singing, drumming and dancing. A brass bell ‘Aaja’ is rung by the priestess to draw the attention of the goddess. Prayers are offered by the king, after which the priestess prays for the king, the town, the citizens, and the participants.
At the bank of the river, the sacrifice is offered to the goddess. All participants will then make their prayer requests known, of which they will return to testify the next year with vows that must be fulfilled. The ceremony comes to an end when the king prays for the people and the crowd disperses with the Arugbá returning to the palace.
In conclusion, the Osun-Osogbo Festival has undoubtedly led to the influx of hundreds of thousands resulting in the generation of revenue. This festival is also a symbol of reawakening for all other dormant cultural and religious festivals which have been lying low and unrecognized for a long time owing to the impact of new religions.
An example is the Olókun Festival which began some years ago and several other festivals that are following in tow.
“Ore yèyé ò,” Grandpa shouted, chanting the praise of Ọ̀sun the mother of us all while waving at an aged woman in white robes. Over the years, during our summer vacation which always falls during the period of the annual Ọ̀sun Festival, we make visits to the Ọ̀SUN Sacred Groove.
Significance
Long before time, our people embraced our indigenous gods ‘òrìsàs’ which were later termed idol worshipping as a means of communicating with the supernatural. People seek guidance and pray to the orisas who are deemed to be the manifestations of the supreme being ‘Olódùmarè’, which cannot be seen as they are intermediaries and messengers of the supreme being.
The Yoruba people are known for their rich culture of festivals which include the Ojúde Ọba Festival of Ijebu Kingdom, the Ọlọ́jọ́ Festival of Ilé-ifẹ̀, Ọ̀sun Festival among others, of which the Ọ̀sun Festival is of real significance to the Yorùbá people of the Southwestern part of Nigeria, the Yorùbás in Diaspora and all devotees around the world. Through these festivals, our cultural heritage is preserved and transmitted to the coming generations.
The Ọ̀sun-Òsogbo festival is a traditional festival that dates back to a little more than 700 years ago and is held to honor the goddess ‘Ọ̀sun’ who promised to protect the people of Òsogbo land, make the women fruitful and prosper the works of their hands. This festival is a combination of both our culture and religion as the traditional religion in our environment depicts the culture of the people.
In 2005, the Ọ̀sun Sacred Groove was declared a UNESCO World Heritage Site in recognition of its global significance and cultural value. The arrival of Ìyá Àdùnní (Susanne Wenger) in the late 1950s changed the narratives of this sacred groove from a desecrated land to a recognized monument with a large number of traditionalists and tourists from all walks of life turning this once local ceremony into an international festival.
The Origin of Osun
Ọ̀sun, coined from the word ‘Orísun’ is also referred to as Osó-igbó, the goddess of the Ọ̀sun River from whose name Òsogbo was derived, is known for blessing the barren with children, healing the sick and afflicted and prospering the ways of all those who run to her for help. Just as her eulogy goes “Yeye omo ní n gbomo”(a mother saves). She is an epitome of beauty and wealth, a leader of women, a goddess of fertility, and divinity, a healer, a dyer, and even many more.
She was born to Àké, a fearless hunter and mighty herbalist and Erindó in IIé-Ifẹ̀, Ọ̀sun, and her family left Ilé-Ifè for Òkèsù where her father first arrived before migrating to the present-day Ìgèdè-Èkìtì. The gods blessed Àké and Erindó with sixteen children, of which eight were boys and the remaining were girls. Most of these children were powerful and prominent in Yorùbá cosmology. They were Ọ̀sun, Elémi, Ọ̀gbẹ̀sẹ̀, Elerinwo, Ibaja, Òkúnsùsì among others.
Upon the death of Àké, a power tussle and struggle for leadership emerged among the siblings. In a bid for them to showcase their metaphysical powers through the use of incantations (Ògèdè) hence the name Ìgèdè was derived. After some of her siblings destroyed themselves, some turned into water leaving Ọ̀sun who later fled to Ọ̀yó,̣ and Òkúnsùsì, the youngest son to ascend the throne of his father.
However, different mythologies have sprung up in a bid to explain who Ọ̀sun was during her life, how she became a goddess, and why she is still celebrated today.
The Discovery of River Ọ̀sun
River Ọ̀sun was discovered by Olútìméhìn, a hunter from Ìpólé-Òmù in the Obòkun area during one of his hunting journeys. Ìpólé-Òmù was faced with harsh weather conditions which caused drought and famine in the land. Birds were not chirping like birds and the rats weren’t squeaking like rats. Olútìméhìn reported his findings to Lároóyè, the Ọwáròkí of Ìpólé-Òmu and suggested that he establish his kingdom around the river, an advice he yielded to.
With the fall of the Old Ọ̀yó empire, the Fulanis advanced toward the South and the people of Òsogbo sought the help of the goddess who foresaw and warned about the imminent attack. The Fulanis were eventually defeated and the people of Òsogbo gave credit to Ọ̀sun for their win. Before their triumph, an agreement was made that they must worship her annually, and in the renewal of that pact and acknowledgment of this past success we celebrate the “Ọ̀sun Òsogbo Festival”.
Ọ̀sun Celebration
The festival preparation begins in seclusion for some days by the Àtàojà ( the King of Òsogbo), the Ọ̀sun priestesses, and the Chiefs. Then, the twelve-day program commences with Iwapopo which is the ritual cleansing of the land. The second to the fifth days are dedicated to ancestors as well as Sàngó, the God of Thunder. The night of the sixth day is dedicated to Ọ̀sányìn for its healing powers through the knowledge of herbs and the lightning of the 500-year-old sixteen-point lamp (Iná Olójúmẹ́rìndinlogun) which the Àtàojà, his wives and Ifa priest will dance round three times.
The seventh day is dedicated to Ifa. The eighth day is dedicated to Ọya, a deity who was on good terms with Ọ̀sun during her lifetime. On the ninth day, the King moves from house to house with greetings starting from that of his in-laws. The tenth day is the Iboriade which is an assemblage of all the ancient and present Àtàojà's crown for rededication to the goddess and homage to the ancestors. This is followed by the final day of preparation.
On the twelfth day, the Ọ̀sun Òsogbo Festival begins with a massive procession from the Àtàojà’s palace to the Ọ̀sun Sacred Grove with the sacred ritual objects carried by the votary maid called ‘Arugbá’ which is accompanied by singing, drumming and dancing. A brass bell ‘Aaja’ is rung by the priestess to draw the attention of the goddess. Prayers are offered by the king, after which the priestess prays for the king, the town, the citizens, and the participants.
At the bank of the river, the sacrifice is offered to the goddess. All participants will then make their prayer requests known, of which they will return to testify the next year with vows that must be fulfilled. The ceremony comes to an end when the king prays for the people and the crowd disperses with the Arugbá returning to the palace.
In conclusion, the Osun-Osogbo Festival has undoubtedly led to the influx of hundreds of thousands resulting in the generation of revenue. This festival is also a symbol of reawakening for all other dormant cultural and religious festivals which have been lying low and unrecognized for a long time owing to the impact of new religions.
An example is the Olókun Festival which began some years ago and several other festivals that are following in tow.
Abiona Michelle
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