Osun Osogbo: Potent cocktail of culture and tourism
No doubt, the world heritage site status enjoyed by the Osun Groove in Osogbo, courtesy of the United Nations Education Scientific and Cultural Organization (UNESCO), may soon make Osogbo, the capital of Osun State , the country’s hottest cultural precinct and tourist destination, if properly managed.
Every July and this year is no exception, the sacred Osun Groove, which has been severally described as a must see attraction, spawns an annual 12 day socio-religious festival, one of the biggest cultural and tourist events in the country, which has gotten better and bigger in size, in the recent.
It would be recalled that the 2005 Osun- Osogbo festival which enjoyed sponsorship from corporate organizations that include Nigeria Breweries Plc, had Osogbo crammed with tourists, diplomats and devotees of the Osun deity from across the nation.
Artworks and traditional fashion items such as beads, which were for sale, were on display in their abundance. However, the sacred Osun Groove remained the centre of attraction to tourists and visitors, and the National Commission for Museums and Monuments (NCMM), custodians of the groove, leveraged on that to generate revenue for itself (a necessary action if the groove must be maintained).
Tourists paid for access and the use of cameras (still and motion), as it obtains in other parts of the world. Interestingly enough, much value was delivered to tourists by the NCMM, through the articulate tourist educators on ground, who met the needs of both local and international visitors to the festival, as tour guides on the 75 hectare sacred groove.
The Osun Osogbo festival
Heralding this year’s edition of the Osun-Osogbo festival, is a month long Osun Youth Football Challenge, which kicked off in Osogbo on last Saturday and will round up by Sunday, August 1, with the grand finale. However, the month-long football fiesta is not the only addition to this year’s festival. In order to strengthen the social aspect of the Osun-Osogbo festival, the Osogbo Cultural Heritage and Osun-Osogbo Festival Planning Committee also introduced Miss Tourism Osun State Beauty Pageant, even as it appointed Ghetto Soldier, Daddy Showkey, as the festival ambassador.
Before the beauty pageant which holds next month, precisely on Wednesday, August 2, events such as Iwopopo Day (the ritual cleansing of Osogbo Township ) will hold on Monday, July 24, while the lightning of the traditional 16 point lamp follows on Thursday, July, 27. Subsequent events include Iboriade, the exhibition of crowns belonging to the paramount ruler of Osogbo, Oba Oyewole Matanmi 111.
As all stakeholders gear up for the 2006 edition of the Osun-Osogbo festival, it is hoped that the present government of Osun State that collaborated with the Osogbo traditional institution in the campaign that saw the Osun groove inscribed as a world heritage site, would the extra mile in ensuring that both the groove and annual festival becomes A-list tourist site and event.
This is because, tourism is a sure money spinner and source of foreign exchange that continues to buoy the economies of countries such as Italy, Kenya, Israel, Greece and South Africa, thrives availability of amenities such as good hotels, as well as enabling environment. Tourism presently accounts for as much as 10 percent of United States of America ’s GDP.
Osun Osogbo, the festival
Essentially, the annual Osun Osogbo festival is a ritual, which celebrates Osun, the Yoruba goddess of fertility.
Presently a glamorous affair incorporating entertainment, beauty pageant, musical concerts and novelty football match, the 12-day festival starts and ends in the palace of the paramount ruler of Osogbo town, Oba Oyewale Matanmi 111 (the Ataoja of Osogbo).
The festival starts with the ritual cleansing of the town, by a team that comprise of the Yeye Osun (Osun priestess), Aworo (Osun priest), Oba Matanmi 111 and his traditional chiefs. The ritual cleansing called Iwopopo takes them to the centre of the town and then, back to the Osun groove.
Appearance of masquerades, regarded as the living dead (the ancestors), takes the centre stage within Osogbo Township , after her sanctification.
The festival celebrating Osanyin (the god of medicine) follows the parade by the masquerades. Osayin, according to Yoruba cosmogony, is the repository of the knowledge of healing through the use of herbs.
To reverence the beneficial divinity, a 16-point lamp said to have been collected from a spirit is lit from dusk till dawn.
Also, sundry deities from the Yoruba pantheon such as the Orunmila, the Ifa Oracle deity (equivalent of Greece ’s all knowing Delphi ), Oya and the Oro cult will have their take, after Osanyin’s solitary day out.
From divine beings, the bright light returns to shine on humans from the 9th day, when Osogbo’s paramount ruler, Oba Oyewale Matanmii 111, leads a procession across the town, visiting select households, such as that of his in-laws.
The next day, which is the 10th day of the festivity, sees Osun worshippers led by the Yeye Osun and Aworo paying homage to the crowns of past and present Obas of Osogbo town, so as to re-dedicate themselves to the Osun goddess. This event which also features the exhibition of Ataoja’s crowns is called Oboriade. Merry making by the towns people usually follows the re-dedication of the priest, priestess and devotees, to the Osun goddess.
Essentially, the annual Osun Osogbo festival is a ritual, which celebrates Osun, the Yoruba goddess of fertility.
Presently a glamorous affair incorporating entertainment, beauty pageant, musical concerts and novelty football match, the 12-day festival starts and ends in the palace of the paramount ruler of Osogbo town, Oba Oyewale Matanmi 111 (the Ataoja of Osogbo).
The festival starts with the ritual cleansing of the town, by a team that comprise of the Yeye Osun (Osun priestess), Aworo (Osun priest), Oba Matanmi 111 and his traditional chiefs. The ritual cleansing called Iwopopo takes them to the centre of the town and then, back to the Osun groove.
Appearance of masquerades, regarded as the living dead (the ancestors), takes the centre stage within Osogbo Township , after her sanctification.
The festival celebrating Osanyin (the god of medicine) follows the parade by the masquerades. Osayin, according to Yoruba cosmogony, is the repository of the knowledge of healing through the use of herbs.
To reverence the beneficial divinity, a 16-point lamp said to have been collected from a spirit is lit from dusk till dawn.
Also, sundry deities from the Yoruba pantheon such as the Orunmila, the Ifa Oracle deity (equivalent of Greece ’s all knowing Delphi ), Oya and the Oro cult will have their take, after Osanyin’s solitary day out.
From divine beings, the bright light returns to shine on humans from the 9th day, when Osogbo’s paramount ruler, Oba Oyewale Matanmii 111, leads a procession across the town, visiting select households, such as that of his in-laws.
The next day, which is the 10th day of the festivity, sees Osun worshippers led by the Yeye Osun and Aworo paying homage to the crowns of past and present Obas of Osogbo town, so as to re-dedicate themselves to the Osun goddess. This event which also features the exhibition of Ataoja’s crowns is called Oboriade. Merry making by the towns people usually follows the re-dedication of the priest, priestess and devotees, to the Osun goddess.
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| Osun Sacred Groove |
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| Osun adherents |
There is low-key activity on the 11th day, used to prepare for the D-day, that is, the 12th day-when the whole of Osogbo partakes in a procession led to the Osun groove in the morning by the Votary Maid, Yeye Osun, Aworo and Osun devotees, as well as a procession of drummers, singers and dancers.
The Votary Maid carries a calabash of medicine and follows the ceremonial route to the Osun sacred groove where she drops the calabash in the presence of Osun devotees. The soul of the celebration, who must not stumble while carrying the calabash, the festival ends when she successfully returns to the Osun shrine within the palace.
On the other hand, the Ataoja leads the whole town, including visitors in a procession along what is termed the public route, saying while prayers while doing so.
The Legend of Osun
Historical records from the National Commission for Museum and Monuments says that Osun, the goddess of fertility, transmuted into the Osun River , after a serious disagreement with a rival deity.
Another account says that, Olutimehin, a valiant elephant hunter, came across the groove in 1570 AD, while hunting. He later informed his friend, Larooye Gbadewolu, the paramount ruler of Ipole, whose domain was under threat from drought and famine, about the lush Osun groove, he stumbled upon. Larooye relocated to the fertile groove with his people.
Upon getting there, he entered into a pact with Osun that he and his people would respect and build a shrine for Osun and her worshippers, if the deity solves their health and spiritual problems.
Both party, according to oral tradition kept their part of the bargain, hence the existence of the sacred Osun Groove today. Oral tradition of the Osogbo people says the Osun goddess protected the town from the incursion of the Fulani Jihadist of the early 19th century. That further reinforced the annual worship of Osun by the Osogbo people.
Prosperity set in for the settlers domiciled in the Osun Groove, since they were spared the hazards of the internecine wars going on in Southwest Nigeria of the 19th century. Their population exploded and the groove could no longer contain all, hence, their migration to another location outside the groove, which is the present day Osogbo.
Proselyting Christianity and Islam however threatened the religious existence of the Osun Groove. But the staunch belief of Osogbo paramount rulers, in the Osun tradition saved the groove and retained the worship of Osun as a township affair till date.
Today, the Osun Groove, now a world heritage centre, retains the pride of existence, as the only consciously preserved (by the efforts of Susan Wenger) and internationally recognized shrine in Southwest Nigeria , where the pantheon of gods hitherto worshipped is not less than two hundred.
The Votary Maid carries a calabash of medicine and follows the ceremonial route to the Osun sacred groove where she drops the calabash in the presence of Osun devotees. The soul of the celebration, who must not stumble while carrying the calabash, the festival ends when she successfully returns to the Osun shrine within the palace.
On the other hand, the Ataoja leads the whole town, including visitors in a procession along what is termed the public route, saying while prayers while doing so.
The Legend of Osun
Historical records from the National Commission for Museum and Monuments says that Osun, the goddess of fertility, transmuted into the Osun River , after a serious disagreement with a rival deity.
Another account says that, Olutimehin, a valiant elephant hunter, came across the groove in 1570 AD, while hunting. He later informed his friend, Larooye Gbadewolu, the paramount ruler of Ipole, whose domain was under threat from drought and famine, about the lush Osun groove, he stumbled upon. Larooye relocated to the fertile groove with his people.
Upon getting there, he entered into a pact with Osun that he and his people would respect and build a shrine for Osun and her worshippers, if the deity solves their health and spiritual problems.
Both party, according to oral tradition kept their part of the bargain, hence the existence of the sacred Osun Groove today. Oral tradition of the Osogbo people says the Osun goddess protected the town from the incursion of the Fulani Jihadist of the early 19th century. That further reinforced the annual worship of Osun by the Osogbo people.
Prosperity set in for the settlers domiciled in the Osun Groove, since they were spared the hazards of the internecine wars going on in Southwest Nigeria of the 19th century. Their population exploded and the groove could no longer contain all, hence, their migration to another location outside the groove, which is the present day Osogbo.
Proselyting Christianity and Islam however threatened the religious existence of the Osun Groove. But the staunch belief of Osogbo paramount rulers, in the Osun tradition saved the groove and retained the worship of Osun as a township affair till date.
Today, the Osun Groove, now a world heritage centre, retains the pride of existence, as the only consciously preserved (by the efforts of Susan Wenger) and internationally recognized shrine in Southwest Nigeria , where the pantheon of gods hitherto worshipped is not less than two hundred.
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| Sunsan Wenger (Right) was known as Adunni Olorisa |
Custodians of the groove
Oba Oyewole Matanmi 111 (the Ataoja of Osogbo), Iya Osun (Osun Priestess) and the Aworo (Osun Priest) were the historically revered custodians of the sacred Osun groove. None except for the Arugba (Votary Maid), a virgin girl who carries the ritual calabash to be presented to the Osun goddess in the sacred groove, plays more significant spiritual roles in all Osun rites.
However, a formidable and modern addition to the line-up of Osun sacred groove custodians is 90-year-old Susan Wenger, popularly called Adunni Olorisa, who notched up the aesthetic and spiritual ambience of the sacred Osun Groove, through the arts.
Wenger’s intervention 56 years ago- saved the Osun Groove from decline. Together with local associates, who were also artists, she erected new sculptures in place of the old ones that had been destroyed. Also, she created giant movable artworks to protect threatened spaces within the groove.
European by birth, Susan Wenger came to Nigeria by chance in the 1950s with Ulli Beier, her lecturer husband, who is no less renowned in African traditional religious circles for his positive contributions. She however came into contact with the last of the disappearing generation of Yoruba priests in Ede (in present day Osun State ) and was initiated into their sacred order, as a priestess.
It is therefore not surprising that she directed her creativity towards strengthening African traditional religious beliefs, which was scoffed at and described as animism, by European scholars of religion of that time.
Wenger, until her death, was resident in Osogbo, surrounded by sculptures and continually attracting creative artists of all hue in search of inspiration for artworks of cultic ilk to her abode. In part, her intervention and consistent devotion to the maintenance of the Osun sacred groove accounts for why the abode of the goddess of fertility earned a world heritage site status.
Oba Oyewole Matanmi 111 (the Ataoja of Osogbo), Iya Osun (Osun Priestess) and the Aworo (Osun Priest) were the historically revered custodians of the sacred Osun groove. None except for the Arugba (Votary Maid), a virgin girl who carries the ritual calabash to be presented to the Osun goddess in the sacred groove, plays more significant spiritual roles in all Osun rites.
However, a formidable and modern addition to the line-up of Osun sacred groove custodians is 90-year-old Susan Wenger, popularly called Adunni Olorisa, who notched up the aesthetic and spiritual ambience of the sacred Osun Groove, through the arts.
Wenger’s intervention 56 years ago- saved the Osun Groove from decline. Together with local associates, who were also artists, she erected new sculptures in place of the old ones that had been destroyed. Also, she created giant movable artworks to protect threatened spaces within the groove.
European by birth, Susan Wenger came to Nigeria by chance in the 1950s with Ulli Beier, her lecturer husband, who is no less renowned in African traditional religious circles for his positive contributions. She however came into contact with the last of the disappearing generation of Yoruba priests in Ede (in present day Osun State ) and was initiated into their sacred order, as a priestess.
It is therefore not surprising that she directed her creativity towards strengthening African traditional religious beliefs, which was scoffed at and described as animism, by European scholars of religion of that time.
Wenger, until her death, was resident in Osogbo, surrounded by sculptures and continually attracting creative artists of all hue in search of inspiration for artworks of cultic ilk to her abode. In part, her intervention and consistent devotion to the maintenance of the Osun sacred groove accounts for why the abode of the goddess of fertility earned a world heritage site status.
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