descriptive essay on osun osogbo festival

Academia.edu no longer supports Internet Explorer.

To browse Academia.edu and the wider internet faster and more securely, please take a few seconds to  upgrade your browser .

Enter the email address you signed up with and we'll email you a reset link.

• We're Hiring!
• Help Center

THE OSUN OSOGBO FESTIVAL: ITS FUNCTIONS AND AESTHETICS

Related Papers

Issues in Language and Literary studies

Olubunmi T A Y O Agboola

With the emergence of Christianity and Islamic religions, the thrust of traditional religion dwindles day by day with recourse to civilization and modernity, which has aided the absence of traditional religions. Notwithstanding the absence of the traditional religions in Nigeria, the Ekiti people have held on to their beliefs and artistic aesthetics of the Ogun festival. The Ogun festival in Ekiti State has shown that the people still consider the worship of Ogun paramount to their existence and survival and can therefore not do without it. This paper focuses on the aesthetic functions of the Ogun festival to the people of Ekiti State and how these functions have helped in the psychological and sociological well-being of the people of Ijesha-Isu Ekiti, Ekiti State.

Abdulgafar Fahm

Yoruba festivals are numerous and multifarious. For this reason, some are of the view that the Yorubas are deeply spiritual. In addition to the generally celebrated festivals among the Yorubas, each Yoruba tribe has its own festivals. A series of these festivals called the Ojude Oba festival is celebrated by the Ijebus who are renowned for both their enterprise and affluence. This article examines the cultural and spiritual significance of the Ojude Oba festival. It analyzes the early beginnings of the festival while providing insights into the epoch of the Ijebus. The festival constitutes a major commercial activity that brings about economic integration and development of the Ijebu community. This article argues that the Ojude Oba festival should not be seen simply for its entertainment value, but as a manifestation of Yoruba cultural, socio-economic, and spiritual values.

Kehinde T E Ajayi , AWOPETU N I Y I GABRIEL

Culture is so diverse that, hardly can you see a culture without anything to emulate or envy. The diversity actually makes the spice. There is always a set of norms of morality for every society with which the society organizes herself. Festival or annual celebrations at times; are opportunities to teach these morals and the consequences for whoever refuses to comply, especially in Africa. So, celebration of annual festivals in Africa is not just a feast or a celebration of abundance of food; it is also a way of transmitting our culture and morals to the next or upcoming generations. Opa Oguru celebration in Emure Ekiti, Nigeria is a typical example of this as discussed in this paper.

Adeyinka Olaiya

Arugbá : Unveiling the Profound mysteries

EDE: Journal of Humanities and Social Sciences

Basiru A . Adebisi

This paper x-rays the philosophical, cultural and socio-spiritual aesthetics of technical aids in Òpélé-Ìbà masquerade festival performance of Òsogbo in Ò ̩ sun State, Nigeria. The study adopts the participant-observation and descriptive research methods within the purview of Sunday Enesi Ododo's Techno-Cultural Performance Theory. It has come to the fore in this study that, although masquerade tradition is a common phenomenon to Yorùbá people yet the historical evolutions are different from lineage to lineage even in the same cultural setup. Apart from visual glamour, technical aids such as costumes, makeup, props, and others are cogent and subsequently codified and godified by the family. The non-ritual nature of technical aids equally goes beyond mere embellishments glamour to promote the economy of the family through the artistic expression of the masquerade. Also, the design patterns of the technical aids supply more than cultural aesthetics pleasure, but equally portray high degree of social belief of the people during celebration. The paper argues that the expressive nature of these aids fulfill the utilitarian nature of African performance arts especially masquerade festivals. It is, therefore, recommended that the potentials of these technical aids in the communication and aesthetic process of the festival can be explored by making the costumes more attractive to enhance its entertainment gait. Also, the utilisation of space can attract creative input by designing a special raised platform for the masquerade to perform.

Tonye Al Onyanabo

Adediran Ademiju-Bepo

Quadri Oluwasegun

Dr. Quadri O . Oluwasegun

There is a saying in African context: “One must come out of one’s house to begin learning.” We are surrounded in life by unlimited range of learning opportunities from formal to informal. Festival among the Lagosians especially the Eyo is well observed with grandeur. This paper is geared up by the need to correct the falsified statement, notion, assertions and grandiose of some foreign researcher as regard religious situations, facts and values in Eyo Adimu festival and its socio-economic significant. It also appraise the symbolic, functional and linear inflection of Opambata in Eyo (Adamu) festival of Lagos Island not overlooking the historical background, socio-cultural and spiritual value of the festival as well as the overall Yoruba cultural development. The research is historical and descriptive in nature. It hinged on oral interview, observation, personal communication, literatures, periodic and books. The oral interview and observation which include the data gathered from the custodian of Eyo, the worshippers, cult members and elders formed the primary data.

HTS Teologiese Studies / Theological Studies

Martins Okoro

In Igbo traditional religion (ITR), there are different means through which therapy and healing are achieved. One such means is through the Nsukka-Igbo Ọmabe masquerade festival rituals and performance theatre. To seek out this aspect of the cultural festival that has been under-researched, this study delves into detailed discussions of the pre-arrival, arrival, events in between, departure and postdeparture of the Ọmabe masquerade festival. Relying on a qualitative method, the study analytically and descriptively discusses the data gathered through participatory observations and interview sessions with some of the devotees possessing sufficient knowledge of the masquerade tradition and festival. Photographs have been included to flesh out the narratives, as well as enrich and enhance the readers’ engagement with the article. Also, relevant materials from extant literature are quoted and cited. The study examined the rituals, music, performances and other interesting key components ...

Kayode O . Olowookere

Loading Preview

Sorry, preview is currently unavailable. You can download the paper by clicking the button above.

RELATED PAPERS

IASET US , Dr. Areo Margaret Olugbemisola

Omoru-Bogban Joy

The Journal of Pan-African Studies

Iyabode Akande

Michael Dare

Idolor G Emurobome

Prof. Dr. Dr. Paul Oluwole-Olusegun

chinyere okam

A Compendium of Speeches and Writings on Udiroko Festival

Jadesola Babatola Ph.D

Arts and Design Studies

Enock Swanzy-Impraim , Nana Ama Pokuaa Arthur

Gitti Salami & Monica Visona (eds.) A Companion to Modern African Art

peter probst

International Journal of Modern Anthropology

Akachi Odoemene

Chris Manus

IOSR Journals

ShodhKosh: Journal of Visual and Performing Arts

habila adokwe

Edem, Ekaette

Ekaette Edem

IOSR Journal Of Humanities And Social Science

Dr. Ejikemeuwa J . O . Ndubisi

IJARW Research Publication , Adwoa Darkoa , linda armah

Nanashaitu Umoru-Oke

Philip Babalola

International Journal of Culture and History

Oluwatoyin Olaiya

OLUYEMISI ADELEYE

Wendilyn Emrys, M.A.

RELATED TOPICS

•   We're Hiring!
•   Help Center
• Find new research papers in:
• Health Sciences
• Earth Sciences
• Cognitive Science
• Mathematics
• Computer Science
• Academia ©2024

Osun Osogbo Festival: The Annual Nigerian Event That Honors The Osun Goddess

Osun Osogbo International Festival attracts tourists from all over the world who go to the street of Osogbo to join the annual rites.

Brunno Braga • Sep 22, 2021

Every year, thousands of followers of traditional religions across Nigeria converge at the Osogbo , Osun state capital to join in one of the most popular festivals in West Africa — the Osun Osogbo International Festival.

The five-day event of celebrations happens in August.

This Nigerian festival attracts tourists within and outside the country swarming the street of Osogbo to join the annual rites, with thousands escorting the maiden calabash bearer to the shrine to show gratitude to the Osun goddess.

Osun worship belongs to the Yoruba people, which are the predominant ethnic group in South Western Nigeria. They were believed to have originated from Ile-Ife. Their traditions are closely linked to nature.

There is a strong belief in the supreme being God of all creations, called Olorun or Olodumare, and over 200 other gods, called Orisas. Many of these gods are represented by natural creations in the environment.

Sango, for example, is the god of thunder. Yemoja, the goddess of the sea, and Oya— one of Sango’s wives— is the goddess of the storm.

This religious tradition is celebrated in many countries outside Africa such as Brazil , Uruguay, Colombia and Cuba.

Despite the influence of the Western culture and religion, the festival has maintained its originality, authenticity and acceptability among nations worldwide.

The celebration transcends various eras right from when it was only known to the Yoruba people of Nigeria down to present day when the cultural festival has now gained world acclaim and is even celebrated beyond the shores of Africa. 

During the days of celebrations, followers and tourists line behind the Arugba showing gratitude for the previous year’s blessings and praying for more blessings in the coming year. The group arrives at the Osun to a patiently waiting crowd that receives them amidst prayers in a very beautiful ceremony.

Osun Osogbo Festival is not only important because of its religious approach, but also for keeping Yoruba’s tradition alive and its potential to attract tourists from all over the world.

“Osun Osogbo festival is a brand on its own. Therefore, the Osun State Government must upgrade the Groove to an international standard as it is done in Brazil and other Caribbean countries,” Aare Onakakanfo of Yorubaland, Iba Gani Adams, told Vanguard News Nigeria.

Cultural enthusiast and traditionalist, Araba Ifayemi Elebuibon also stresses the need for Yoruba nation to establish a means to defend itself and protect their cultural heritage.

“We need to be more alert and protect ourselves using traditional means. We need to deploy traditional means to protect our people. Yoruba across the country must rediscover itself. We must uphold the tradition and culture which God bestows on us,” he said.

In his remarks to Vanguard Nigeria News, the Ataoja of Osogbo, Oba Jimoh Oyetunji Olanipekun, said Osogbo town was blessed with the Osun river goddess, declaring that the festival ranks among the best in the world and urged the Osun state government to reinvent the glory of the Osun Osogbo Festival by providing the support that is needed to make Osogbo the business hub of the state.

For him, Osun Osogbo festival remains an annual fiesta for tourism attraction, adding that the state is capable of sustaining culture, tradition and Yoruba heritage.

Subscribe to travel noire

Get more travel content

Subscribe to Travel Noire, a free daily newsletter that features the best of travel, destinations, and guides to the cities you love from a new point of view — yours.

By subscribing to this newsletter, you agree to our terms of service and privacy policy.

Popular posts

Trending stories in world travel

Osun Sacred Grove: Where A West African Spiritual Tradition Flourishes

• Read Later  

The Osun-Osogbo Sacred Grove, located on the outskirts of Osogbo in southwestern Nigeria, is a UNESCO World Heritage Site renowned for its cultural and spiritual significance. This sacred forest, spanning about 75 hectares (185.32 ac), is dedicated to Osun, the Yoruba goddess of fertility and one of the pantheon's most venerated deities. The grove is a living testament to the rich cultural heritage of the Yoruba people, and its preservation has been a testament to the community's dedication to their traditions. It is one of the last such groves in this part of the world, and it is paramount that it remains preserved for posterity.

• Ethiopian Church Forests, Struggling Fragments of Sacred Greenery in the Desert
• A 400-Year-Old ‘Carbon Colossus’ Heralds Hope for Amazonia

Osun-Osogbo Sacred Grove in Nigeria. A sacred forest along the banks of the Osun River just outside the city of Osogbo in Osun State. ( Fela Sanu /Adobe Stock)

The Osun Sacred Grove as a Heritage of the Yoruba People

The Osun-Osogbo Sacred Grove has a history that dates back centuries, with its origins rooted in the mythology and spirituality of the Yoruba people. According to legend, the grove is believed to have been founded by the deity Osun , and it has served as a sacred site for rituals, ceremonies, and festivals associated with the goddess .

The Yoruba spiritual tradition has its Arugba, divinely selected, who is chosen to carry the gourd of offerings or the sacred figurine during the annual Osun/Osogbo Festival. (4toscenethesis/ CC BY-SA 4.0 )

The annual Osun-Osogbo Festival, a major pilgrimage for adherents of the Yoruba religion, draws devotees and tourists alike to witness the colorful and elaborate ceremonies held in the sacred grove.

The Arugba leads a procession to the Osun River, Osogbo, Nigeria. (Bappah/ CC BY-SA 4.0 )

The grove itself is a lush and biodiverse forest, featuring a variety of plant and animal species. It is also one of the last remnants of primary high forest in southern Nigeria. The natural elements of the grove are intricately intertwined with the cultural and religious practices of the Yoruba people , creating a unique and harmonious environment that reflects the interconnection of nature and spirituality. Visitors to the sacred grove are greeted by a serene atmosphere, with ancient trees, winding paths, and sacred shrines contributing to the mystical ambiance of the site.

A shrine in the Osun-Osogbo Sacred Grove, in Osogbo, Osun, Nigeria. (Alex Mazzeto - Jurema Oliveira/ CC BY SA 3.0 )

One of the prominent features of the grove is the Osun River, which runs through it. The river is believed to be a manifestation of Osun herself, and it plays a central role in the religious rituals conducted during the annual festival. Pilgrims and devotees engage in symbolic activities such as bathing in the river to seek blessings, purification, and spiritual renewal . The river, with its clear waters and sacred significance, adds to the sanctity of the Osun-Osogbo sacred grove.

Osun River at the Sacred Grove Of Oshun. (Yeniajayiii/ CC BY SA 4.0 )

The Last of Nigeria’s Primary High Forests

In addition to its religious importance, the Osun-Osogbo grove is a prime example of the successful collaboration between local communities and global conservation efforts. The grove faced threats of encroachment and degradation over the years, but through the efforts of the Osun-Osogbo Sacred Grove Conservation Foundation and the Osun State Government, steps have been taken to preserve and protect this cultural gem. The grove's inscription as a UNESCO World Heritage Site in 2005 further underscored its global significance and the need for international cooperation in safeguarding such cultural and natural treasures.

In total, the sacred grove sanctuary contains around forty shrines, sculptures and tribal art pieces, which are all placed there to honor the deity Osun, and other deities of the Yoruba peoples. While many of the statues here are very old, some have been created in recent times, showing that the tradition of adding to the grove still persists. Along the meandering river, there are now recently-created “palaces”, small sacred places and worship points for designated priests and priestesses.

Oshun Statue. ( Yeniajayiii/CC BY-SA )

What is more interesting is the wealth of new and modernized art that sets Osun grove apart from any similar ones. It has a number of 20th century artistic sculptures, which are meant to further strengthen the connection between the Yoruba people and their age-old pantheon. The artists and their pieces contributed greatly to the preservation and survival of the grove, in a time when many forests and ancient heritage sites are quickly disappearing. Thanks to all of these efforts, the Osun-Osogbo Sacred Grove is now a very sacred place for the entire Yorubaland region, and a symbol of identity for the large Yoruba diaspora.

• Oshun: African Goddess of Love and Sweet Waters
• Anansi – Deity or Storybook Trickster?

The Ancient Symbol of the Yoruba People

The sacred grove is now a pilgrimage site for many Yoruba pilgrims. But not only that - uniquely, it is a true “herbal pharmacy”, as it contains over 400 species of plants, some of which are endemic to the place. Of all these plants, more than 200 species are known to have medicinal uses in the local tradition, which further increases the importance of this sacred grove.

Today, the Osun-Osogbo Sacred Grove stands as a remarkable testament to the enduring cultural and spiritual traditions of the Yoruba people. Its lush vegetation, sacred shrines, and the enchanting Osun River create an immersive experience that will leave everyone moved. The annual Osun-Osogbo Festival and the ongoing conservation efforts emphasize the grove's vital role in connecting past, present, and future generations, making it not only a cherished site for the Yoruba people but a globally recognized symbol of cultural resilience and natural conservation.

Top image: Osun-Osogbo Sacred Grove in Nigeria. A sacred forest along the banks of the Osun River just outside the city of Osogbo in Osun State. Source: Oloyedejuwonlo/ CC BY-SA 4.0

By Aleksa Vučković

Joseph M. M. and Mei-Mei S. 2001. Osun across the Waters: A Yoruba Goddess in Africa and the Americas . Indiana University Press.

Katen, T. 2005. Sacred Places of Goddess: 108 Destinations . CCC Publishing.

Murrell, N. S. 2009. Afro-Caribbean Religions: An Introduction to Their Historical, Cultural, and Sacred Traditions. Temple University Press.

Frequently Asked Questions

Osun-Osogbo lies in the heart of Osogbo, the capital of Osun State, founded some 400 years ago in southwest Nigeria, at a distance of 250 km from Lagos.

The goddess of fertility Osun.

The Osun-Osogbo Festival is a two-week-long annual festival that's usually held in August at the Oṣun-Osogbo Sacred Grove, on the banks of the Osun River. The festival takes place to honor the goddess Osun (also Oshun) and for spiritual renewal.

I am a published author of over ten historical fiction novels, and I specialize in Slavic linguistics. Always pursuing my passions for writing, history and literature, I strive to deliver a thrilling and captivating read that touches upon history's most... Read More

Related Articles on Ancient-Origins

Where next?

Explore related content

Osun Osogbo Festival

Tour nigeria abuja, nigeria.

The Osun Osogbo festival is the biggest annual traditional religious event of the Yoruba people, attracting thousands of worshippers and spectators from all over the world. The festival is packed with facinating performances; dancing, playing the drums and singing and elaborate display of colourful costumes to appease Osun, the goddess of fertility.

• Title: Osun Osogbo Festival
• Date Created: 2019
• Location Created: Osogbo, Osun, Nigeria

Get the app

Explore museums and play with Art Transfer, Pocket Galleries, Art Selfie, and more

• Entertainment
• SPORTING TRIBUNE

Osun-Osogbo festival: Embracing tradition, blazing new paths

For the adherents of the Osun goddess of fertility and wealth, local and foreign tourists, including traditionalists, the month of August, each year, always brings with it great expectations as thousands of people converge on Osun groove for the annual commemoration of Osun-Osogbo festival. This has been an annual celebration that unites both Nigerians and tourists thereby bringing to fore the rich preserve of Yoruba culture and tradition. The month of August for adherents attracts large population of individuals, groups within Nigeria and the Diaspora to the ancient city of Osogbo.

Expectedly, this year’s celebration only upped the competence of the organisers as mammoth crowds in various garbs thronged Osogbo, capital of Osun State as the city centre played host to dignitaries from all walks of life, with different sociocultural groups as they put up impressive displays to complement the dynamics of the festival. The collage of attraction of this year’s edition of the Osun-Osogbo festival included drumming, dancing, musical performance, display of elaborate costumes by worshippers of the Osun goddess, among many others.

Related Posts

Shehu sani to tinubu: changing national anthem can’t unite nigeria except…, video: portable throws shades at davido after meeting in america, acresal commences training for community business agents in bauchi.

Among the cultural groups that graced this year’s festival were the adherents of the Osun goddess, who adorned white attires, with other traditional accoutrement such as beads. Others who were not left out were members of the Oodua People’s Congress (OPC) and other cultural groups.

Many descendants of the Yoruba nation from Cuba, Brazil, Trinidad and Tobago, Jamaica, Spain, Canada, and the United States, mostly tourists, thronged the groove on Friday for the grand finale of the festival dedicated to the Osun deity. The goddess has been reputed for her potency in giving children to the barren and granting other requests brought to her by her adherents who usually besiege her domain for blessings.

Apart from serving as a veritable means of boosting the economy of Osogbo, each year the celebration is held, Osun Osogbo is also explored as a traditional channel of cleansing the city and creating effective platform for cultural reunion of the people with their ancestors and founders of the Osogbo kingdom.

As usual, this year’s two-week long activities commenced with the traditional cleansing of Osogbo, referred to as ‘Iwopopo’. This process is followed up in three days by the lighting of the 500-year-old sixteen-point lamp called ‘Ina Olojumerindinlogun’. This was subsequently followed by ‘Iboriade’: an assemblage of the crowns of the past rulers, which was presided over by the Ataoja of Osogbo, Oba Jimoh Olanipekun. The Osogbo paramount traditional ruler offered prayers for blessings, with the active participation of ‘Arugba’ (a female virgin who carries the traditional calabash), Yeye Osun and a committee of priestesses. The Arugba has constantly been regarded as the key feature of the Osun-Osogbo festival. She is a votary virgin who bears the Osun calabash on her head; the calabash contains symbols of sacrificial materials with the intent of appeasing and worshipping the Osun goddess.

According to the dictates of the people’s customs relating to the festival, the Arugba is not only seen as a virgin maid any longer, she is regarded as the bridge between the goddess herself and the adherents. Worshippers thereafter offer prayers and symbolically cast all their problems on her as she bears the calabash and leads the mass of people on her path to the river bank.

Historically, the intriguing story of the Osun-Osogbo festival started over 700 years ago when a group of settlers led by a great hunter, Olutimehin, settled at the bank of the river to escape the famine in their former dwelling place. Findings from historians indicated that Osun, the water goddess, was said to have appeared to Olutimehin and requested him and his group to move up some bit to higher ground, which is the present-day Osogbo town.

• Outrage in Ekiti over demolition of Ayefele’s radio station by Oyo govt

Osun revealed herself to be the goddess of the grove and of the river. She promised to protect the group and make their women fruitful if only they would offer the annual sacrifice to her in return. The group agreed and vowed to offer sacrifices annually to the goddess if she would honour her vows. Interestingly, the annual ritual had gone behind the precinct of just offering sacrifices to a river goddess, as it has succeeded in becoming an international celebration of cultural events attracting people from all over the world to Osogbo.

Retrospectively, events of the 1950s gave a graphic detail of how the Osun-Osogbo grove was subjected to wanton neglect as traditional priests abandoned the sacred forest thus giving way to prohibited activities such as fishing, hunting and felling of trees in the grove until an Austrian, the late Susanne Wenger came to halt the desecration.

With the encouragement of the then Ataoja of Osogbo and the support of the local people, Wenger formed the New Sacred Art Movement to challenge land speculators, repel poachers, protect shrines, thereby kick-starting a long process of restoring the sacredness of the Osun-Osogbo grove back to  its traditional status. She rebuilt the abandoned shrines again and re-modelled the gods in sculpture and ceramics, representing over 75 cultural gods in artful representations.

While speaking during the grand finale of the festival, the Osun State governor, Rauf Aregbesola assured that his administration would continue to support cultural festivals with a view to enhancing the social and economic development of the state, noting that providing critical support and creation of enabling atmosphere for the tourism sub-sector were capable of shoring up the revenue generation drive of the state government.

Represented by his Commissioner for Home Affairs, Dr Olawale Adebisi, Aregbesola maintained that his government was keen on the sustainability of the Osun-Osogbo festival due to its potential for providing the needed platform for the export of Yoruba traditional heritage where cultural exploits in the state can be showcased to both local and international tourists.

According to him, “the Osun-Osogbo festival also provides avenue for the largest gathering of youths; so it provides a channel for transfer of culture and tradition to the younger generation. It also brings about economic development as tourists who come for the festival would lodge and spend their money which improves the state economy.”

Aregbesola, however, tasked the chief host of the festival, the Ataoja of Osogbo, Oba Jimoh Olanipekun to use the occasion to pray for the nation and Osun, specifically for the peaceful conduct of the September 22 gubernatorial poll. Aregbesola said the traditional ruler should offer prayers with a view to supporting the ruling All Progressives Congress (APC) win so that the developmental strides in the state would continue.

In her remarks, the Special Adviser to Aregbesola on Culture and Tourism, Mrs Taiwo Oluga, the Special Adviser to the Governor on Culture and Tourism, who was also the chairperson of the occasion, sought for more collaboration from relevant stakeholders to promote culture and traditional heritage in the state.

Addressing thousands of adherents and worshippers of the goddess, Oba Olanipekun commended the partners and sponsors for their contributions towards the success of this year’s festival especially corporate bodies, royal fathers and Nigerians from within the country and the Diaspora.

Get real-time news updates from Tribune Online! Follow us on WhatsApp for breaking news, exclusive stories and interviews, and much more. Join our WhatsApp Channel now

Culture meets history as Irawo gets new traditional ruler

When the worst of the best is better than the rest.

Subscribe to e-Paper

Frontpage Today

• Tribune Advertisement Rates

© 2023 Tribune Online - an online publication of African Newspapers of Nigeria Plc. All rights reserved

Welcome Back!

Login to your account below

Remember Me

Retrieve your password

Please enter your username or email address to reset your password.

Add New Playlist

- Select Visibility - Public Private

Search Content...

History of the arugba: osun-osogbo festival.

Published by Emmanuel Ojatunwase on 17th August, 2022

The centrepiece of the Osun-Osogbo Festival is the Arugba ( Calabash carrier ). She is an Osun calabash-carrying votary virgin, which is a traditional allegory of the Virgin Mary. The calabash contains sacrifices intended to be made in her honour as offerings to the Osun goddess , or river. The Arugba is now worshipped as a goddess rather than just a virgin maid, and when she carries the calabash and leads the crowd to the river, people pray to her and blame all of their problems on her.

The symbolic calabash bearing the sacrifice’s offerings is carried by Arugba . This calabash is thought to have been given to the Osogbo forefathers by the goddess Osun , who stipulated that a royal virgin lady must transport it to the grove on the festival day. The Arugba is closely watched by the Olose (also known as Whip Boys ) as she travels to and from the grove because she must avoid stepping on a stone or stump, as this would send the wrong message to the populace.

The Arugba Ritual

One of the main attractions of the Osun-Osogbo festival is a virgin votary carrying a calabash on her head, bearing the offerings that would be made in order to please and worship the goddess. People throw their concerns at her and offer prayers as she leads the procession to the river because they recognise her as a goddess-representative. The Arugba’s hitch-free journey from the palace to the groove is therefore crucial to the festival’s success. It should be noted that the Ataoja and the Osun priests and priestesses perform the holy rituals of the Osun festival in secret within the sanctuary at the Osun grove in order to renew the sacred tie and pathway between the goddess and the people of Osogbo. 

The stage is set for the secular ritual drama, during which reenactments of some historical events take place to the admiration of the general public attending the festival after the sacred rituals have been performed at the inner sanctum of the grove by the initiates ( Ataoja , the Osun priestess, and other priests). The Ataoja then sits on the stone of power in a designated area of the grove, communes with his ancestors, and feeds the goddess with the sacrifice after receiving it from the Osun priestess and Osun priest .

The Reenactment of the Events of the Early History of Osogbo

The act that is performed by the Ataoja and the Arugba is an important reconstruction of the occasions in Osogbo’s early history. First off, Olarooye , the first Ataoja , sat on the same stone that the current Ataoja is currently sitting on when he was about to make the first sacrifice to the goddess during the settlement of Osogbo. Additionally, the current Ataoja communes with the goddess and asks for her continuing assistance and protection in the upcoming year, just as Olarooye did before and after making the first sacrifice to the Osun goddess .

Finally, the Ataoja feeds the goddess like his ancestor and receives good tidings just as Olarooye received god-fish on his palm, which earned him the title “ Atewogbeja ,” shortened to ‘Ataoja’ . The feeding of the goddess by the Ataoja marks the end of the rituals of the Osun festival and confirms that the waters of the river are blessed.

After the conclusion of the ritual, people will start shouting “ Ore Yeye Osun ,” which is Yoruba for “We adore you, Osun the Great Mother.” Additionally, people start drinking river water and collecting it in various kinds of containers, some of which they use to wash their faces. People believe that the river’s sacred waters, which are immediately available following the sacrifice, have the ability to heal all illnesses, including infertility, chronic headaches, and other conditions. Following that, the Ataoja and other individuals returned to the palace, where singing, drumming, and other forms of entertainment continued. The entire town of Osogbo is thrown into a celebratory mood thereafter. The singing of Osun praise poems ( Oriki Osun ) and festival songs ( Orin Odun ), which have a lot of historical significance, is one of the key components of the celebration of the Osun festival . 

Osun Praise Songs and Poems

Poems and songs are extremely essential to the Yoruba culture, and there is never a Yoruba culture without lyrically beautiful traditional melodies. In reality, music serves as a mirror through which the Yoruba culture may be comprehended in its entirety because they use it not only to preserve and convey their past but also to call upon the spirits of their many Orisa. Throughout the two-week Osun celebration, worshipers and followers of the goddess of Osun shout praise and invoke her spirit at various times and locations. As previously mentioned, Osun praise poems and songs are rich in historical references that highlight the role of the Osun goddess in Yoruba cosmic mythology and Osogbo history. Below is a sample from one of those poems that highlight Osun’s significance in Osogbo’s history:

Sholagbade Ewuji, mo kore Yeye f’Osun Taa ni o momo p’Osun Osogbo Nii b’Oba selu Osogbo o? Osun Osogbo ni o ba mi Seyi ni temi.

Meanings: Solagbade Ewuji , I salute the Great Mother, Osun . Who does not know that it is the Osun Osogbo who helps the Oba manage or rule Osogbo? Osun-Osogbo is the one who will help me accomplish this one of mine.

Some of the words in the poem mentioned above depict her historical contributions to the creation, expansion, and development of Osogbo. First, Osun’s designation as the “ Great Mother ” ( Yeye ) in the poem refers to the goddess’ power to cure all types of human illnesses, especially those that affect mothers and young children. It also suggests that she can help infertile men and barren women become parents.

According to Osogbo legends, the goddess assisted Olarooye , the first Ataoja whose wife had difficulty conceiving children, to have children after consuming river water. This was the basis for the myth that the goddess could cure infertility and barrenness, which is why pregnant women flock to the grove during festival celebrations. The poem’s line that “it is Osun who helps the Oba rule Osogbo” refers to the goddess’ maternal role in the founding and development of Osogbo. The residents of Osogbo hold the belief that the Osun goddess generously permitted their forefathers to colonise their land and have since provided protection and security to the community. It is also asserted that the goddess’ continuous power and protection played a role in the fact that Osogbo had never been vanquished or conquered during a conflict. The residents of Osogbo even believe that the goddess actively took part in the famous battle of Osogbo between Ibadan warriors and Fulani Jihadists by disguising herself as a food vendor and tricking the Jihadists into eating poisoned bean cakes, which rendered them incapacitated, in order to fulfil her promise to keep Osogbo safe from invaders.

JOIN NB ON SOCIAL MEDIA

Queen Elizabeth; How Nigeria was sold for £865k

The question of how Nigeria became an independent country, which in recent times has been regarded as the “Giant of…

History of Kambari; Nigeria’s Naked Tribe

One might wonder if, truly, there is still a tribe or nation in this modern world that does not wear…

Brief History of FRSC in Nigeria

The Federal Road Safety Corps is the government agency with statutory responsibilities for road safety administration in Nigeria. The Federal…

The Story Behind Tafa Balogun’s Forced Retirement

Mustafa Adebayo Balogun was the 11th Inspector General of the Nigeria Police Force. He joined the police force in May…

Drop a comment Cancel reply

Post Comment

• Publications
• Join Our Team

Fatherland Gazette

EXPLORING AFRICAN ART

THE OSUN OSOGBO FESTIVAL

Little wonder would you know how people come from all over the world to grace the Osun Osogbo festival. Over the years, it’s been more than just sacrifices performed to celebrate the Osun River, it has succeeded in becoming an international celebration of cultural events attracting people from all over the world to Osogbo.

You might want to check out these fascinating things when next you’re attending the festival if you have never before. Here are five interesting things to know about the Osun Osogbo festival

The Early Beginning …

The festival came to be as a result of what transpired between the goddess of Osun and a group of travellers. It was said that a group of migrants led by the great hunter, Olutimehin, settled on the bank of the Osun river to save themselves from famine. They had fled because of hunger in their home country. History has it that ‘Yeye’ Osun appeared to Olutimehin and requested him to lead the people up asunder where was to be their promised land and there it was, the present-day Osun Osogbo. The Osun goddess promised them safety and prosperity in turn for an annual sacrifice to her. They obliged her proposition. Hence the Osun Osogbo festival which comes annually every August and whose rites last for two weeks.

The Arugba is the key feature of the Osun Osogbo festival. A young virgin who is to remain so till her tenure is exhausted. She is painted with white dots all over her body. She is then made to carry the calabash which contains the materials for sacrifice to appease and worship the river goddess. The Arugba is seen as a goddess herself and people make their prayers to her and cast all their problems on her as she bears the calabash and leads the people onto the river.

The Sacred Grove

Regarded as the abode of the goddess of fertility, Osun, one of the pantheons of Yoruba gods, the landscape of the grove and its meandering river is dotted with sanctuaries and shrines, sculptures and artworks in honour of Osun and other deities. The sacred grove, which is now seen as a symbol of identity for all Yoruba people, is probably the last in Yoruba culture. Set within the forest sanctuary are forty shrines, sculptures and artworks erected in honour of Osun and other Yoruba deities. Many were created in the past forty years. Two palaces, five sacred places and nine worship points are strung along the river banks with designated priests and priestesses.

Atupa Ina Olujumerindinlogun

Imagine a lamp having 16 eyes and having existed for 600 years. How funny! That itself has become a deity. The Ina Olujumerindinlogun Ritual involves the lighting of a 16 point lamp which is believed to have existed for 600 years after the “iwopopo” ritual is performed. Lighting the 16 point lamp is an important aspect of the Osun Osogbo festival. A carnival night featuring dances and music from various dance groups within Osogbo land, whereupon the lamp is lit. The king dances round the lamp twice and on the third round, accompanied by his chiefs, they take the dance rite around the city and before they return, the lamps were put off and replaced to where they were kept until the following year.

Two things must not happen when lighting or putting off the lights: one the lights must not go out before the king dances around it twice. Secondly, they must have been put off before the king returned from touring the city with his palace chiefs. A palace chief is saddled with the responsibility of ensuring these are done right. 

To the Osogbo people, the lighting of the lamp reminds them of their ties to the Osogbo deity. It is a time to renew and strengthen the ancestral bonds.

Susanne Wenger

The story wouldn’t be complete without this hero; Susanne Wenger, an Austrian who devoted her life since the 1950s to restoring the glory of the shrines. She renovated and sculpted the gods representing 75 gods in cultural artefacts. Wenger stopped people from felling trees or hunting or fishing and personally rebuilt the customary shrines and groves again till her death. Wenger later came to be titled Adunni Olorisha for her custodial efforts and her consistent devotion to the gods of the grove.

It is taboo to fall trees, fish or hunt near the groove. Susanne will always be remembered for her effort in preserving the groove.

Aside from the sacrifices to the goddess Osun, it is also a celebration of cultural events. Many business organizations and companies now take part in the celebration. Osun Osogbo remains a dynamic religion today and preserves the cultural heritage of the Yorubas. It also creates a communal relationship among the people of the world. What a festival!

Oluwatimileyin Emmanuel

Related Posts

The Ancient Bayankole Potency Test

September 8, 2023 December 23, 2023

HAMAR’S BOYS TO MEN BY THE BULLS

The Heritage, Identity, and Meaning behind Certain Yoruba Names

September 6, 2023 December 23, 2023

About Admin

Enjoy this post? Please spread the word :)

Global site navigation

• Celebrity biographies
• Messages - Wishes - Quotes
• TV-shows and movies
• Fashion and style
• Capital Market
• Celebrities
• Family and Relationships

Local editions

• Legit Nigeria News
• Legit Hausa News
• Legit Spanish News
• Legit French News

Osun Osogbo: History Behind Festival and How a Clean Young Lady Always Plays Vital Role

Traditional festivals are an essential part of a country's tourism. This is because they demonstrate the peculiarity that always sparks the curiosity of international audiences.

PAY ATTENTION: Update Legit.ng App for free : the old version will be disabled s oon

One can say they also play a huge role in a nation's revenue generation because when they draw in visitors, the country's economy improves as retailing booms.

Osun Osogbo is one of many tourist attractions in Nigeria. Apart from its religious essence, the festival is also an avenue to learn about culture and tradition.

How the festival all began

Though there are no specific dates on when the traditional celebration started, BBC News has it that the first could be traced to 600 years ago and it is said to be the biggest festival of the Yorubas. No wonder people who identify with the Yoruba root always come from far and near to celebrate every year.

State of the nation: Nigeria has lost its way, Pastor Femi Oladehin declares

PAY ATTENTION: Subscribe to Digital Talk newsletter to receive must-know business stories and succeed BIG!

A report on the story behind the festival stated that a group of people headed by a great hunter called Olutimehin took shelter at the bank of the Osun river as a way to rescue himself and his people from famine.

While he was there, he had an instruction from the spiritual world to take his people to a place that is now known as Osogbo. The celebration is therefore in celebration of that mandate and in thanksgiving of the prosperity the migrants got. In 2003, the United Nations Educational, Scientific and Cultural Organization (UNESCO) recognised the festival.

Osun Osogbo celebration rites

One of the main things people look forward to is the Arugba (calabash carrier). Every year, a virgin lady is chosen to perform this duty. She is believed to be the link between the deity and Osun devotees. In her calabash are contents of sacrifices offered to the Osun river.

3 times people's stories of humble beginnings inspired many online, 1 person is selling popcorn

During the procession to the river, the virgin carries a calabash that is covered with a colourful cloth. Before the journey to the river begins, worshippers must first pray at the shrine.

The Ataoja of Osogbo, Oba jimoh Olanipekun, always plays a big role as he is the chief host. Kings from neighbouring communities visit him during the festival.

Speaking with Sacred Journeys , a pilgrim of the festival, Diedre Badejo said:

"I think anybody who goes on a sacred journey, anyone who ventures into another tradition is a soul searcher. They are seeking to find something within themselves they're trying to connect to."

The role of Suanne Wenger

Though the festival suffered a bit, it started becoming popular again in the 1980s. An Austrian-born aritist, Susanne Wenger helped in that regard . After her arrival in Nigeria in the 1950s, she decided to stay in Osogbo for the rest of her life.

Grass to stardom: Talented Nigerian youth with 20 siblings rises to fame

During her lifetime, she helped to rebuild the shrines and also contributed to getting the groves protected.

Man in Osogbo dresses as Spider-Man

Meanwhile, Legit.ng earlier reported that a young Nigerian man, Jonathan Olakunle, goes around Osogbo in a Spider-Man outfit as he cleans the streets.

Olakunle revealed that every neighbourhood needs somebody like him. The young man said though he started environmental sanitation in 2004, he began going around sometime later.

He stated that he decided to work in a Spider-Man outfit because it draws people’s attention to what he is doing.

Source: Legit.ng

Joseph Omotayo (HOD Human-Interest) Joseph Omotayo has been writing for the human interest desk since 2019 and is currently the head of the desk. He graduated from Obafemi Awolowo University, Ile-Ife, with a degree in Literature in English in 2016. He once worked for Afridiaspora, OlisaTV & CLR. He is a 2022/2023 Kwame Karikari Fact-Checking fellow. He can be reached via: [email protected].