The early history of the Oshogbo people is founded on mythical and spiritual beliefs, along the lines of the traditions of the Yoruba people. The Osun River goddess is credited with the founding and establishment of Oshogbo town. Some accounts describe her as Oso-Igbo, the queen and original founder of Oshogbo town. Thus, the Osun Oshogbo festival, which has been celebrated for about six hundred centuries, was built around a relationship between the river goddess, Osun, and the first monarch of Oshogbo kingdom, Oba Gbadewolu Larooye.
Many centuries ago, hunters from a nearby village (Ipole Omu), named Larooye and Olatimehin and their subjects migrated in search of water.
They finally settled at a place very near the Osun River in present day Osogbo. Later, Larooye became the first Ataoja (King) of Osogbo, as one of the initial builders of the settlement.
These men and their subjects knew nothing about the administration of the goddess of the Osun River. As time passed by, members of the established community were engaged in preparation of grounds for a planting season when a tree fell into the river and a mysterious voice was heard from the Osun River saying: "Larooye, Olatimehin, gbogbo Ikoko Aro mi leti fo tan”, meaning, you have destroyed all my dinning pots.
Having heard this mysterious voice, they were afraid for they never knew how the goddess of the river knew their names.
After Oba Larooye and other lesser spirits within the community pacified the goddess of the river by saying, “Oso-Igbo pele o, Oso igbo roar”, the ancient city was said to have derived her name from the mysterious voice from the lesser spirit made to pacify the goddess of Osun River, thus Oso-Igbo pele o; Oso-igbo rora, was abbreviated to Osogbo. Same goes for the royal title, Ataoja which was derived from the function which the goddess of Osun River advised the first Oba (King) to perform during the last day of the then festival, Atewogbeja, which is abbreviated to Ataoja.
The dense forest of the Osun Sacred Grove on the outskirts of the city of Osogbo is one of the last remnants of primary high forest in southern Nigeria.
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 art works 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.
It testifies to the once widespread practice of establishing sacred groves outside all settlements.
STATEMENT OF SIGNIFICANCE
Criterion (i): The development of the movement of New Sacred Artists and the absorption of late Suzanne Wenger, an Austrian artist, into the Yoruba community have proved to be a fertile exchange of ideas that revived the sacred Osun Grove ;
Criterion (ii): The Osun Sacred Grove is the largest and perhaps the only remaining example of a once widespread phenomenon that used to characterise every Yoruba settlement. It now represents Yoruba sacred groves and their reflection of Yoruba cosmology.
Criterion (iii): The Osun Grove is a tangible expression of Yoruba divinatory and cosmological systems; its annual festival is a living thriving and evolving response to Yoruba beliefs in the bond between people, their ruler and the Osun goddess.
The influences that can affect the history of a people are said to be of two kinds, which can be called internal or external, the former resulting from the character and pursuits of the people, the latter from the historical contacts and the political or religious movements and fashions that have come from outside.
The early history of Osogbo is essentially the legendary account of the spirit-world; it is the history of the early people whom we call the spirits and fairies. This is in line with Yoruba traditions, which use mythical stories to explain the origins of the ruling families of an early Yoruba state.
Research into our traditions which is becoming increasingly known in scholarly circles reveals that Osogbo had been founded as early as Oduduwa period. Oso-igbo, the goddess of Osun River, was the Queen and original founder of Osogbo. She was credited with many important achievements, which helped to establish the State. She lived in a beautiful surrounding and possessed magical powers, which inspired her people and frightened their enemies.
Traditions acclaim her the goddess of fertility, protection and blessings. She possessed the ability to give children (through birth) to barren women and power to heal the sick and the afflicted by means of her medicinal water from the river.
The ATUPA OLOJUMERINDINLOGUN is a pointer to the beautiful surrounding. It was a sixteen-point lamp which was allegedly kept burning from dusk to dawn to maintain the glory of the place at night. This can be likened to the modern day electrification of a community area. Other characters that assisted Oso-igbo in her administration include:
LAKOKAN: This was second in rank in the organization and the first character to be seen and appeased before the Osun goddess could be approached.
IYAMAPO: The Queen (Oso-igbo) and the people were convinced that the grove was their soul and the source of their strength and, as such, guarded it at all costs. The Iyamapo was the sentry spirit charged with the duty of guarding the entrance to the grove.
OSANYIN: Was the spirit or character with the duty of protecting the grove from outside attack.
AJE: Was generally in charge of the indigenous industry (dyeing) and finance.
OMENIYANMERIN was mainly in charge of internal security and was a character believed to possess the power to literally swallow enemies. Hence the name, MI ENIYAN, MI ERINÃ (he who swallows, even men and elephants).
AJIGUN was the giver of children to barren women through the use of medicinal waters from the river.
IGBO AWOWO was the abyss where condemned criminals were thrown alive to meet their waterloo. It was a system of justice.
I visited the town, had an encounter with the Osun priestess or Iya Osun and the Arugba, icons of the festival who have begun preparations ahead of the grand finale which is the cultural procession to the river.
Iya Osun amongst other things disclosed that she is a protégée of Susan Wenger, the devotee of the Osun deity.
The votary maid or Arugba, who leads the procession during the grand finale of the festival, is required to be a virgin, as high premium is placed on purity. This role has been played by Agbolade for the past six years who says her peers were initially awed by her divine role and thus avoided her.
Osogbo was once again the major attention of the world, as the people of Osun State celebrated the annual feast (Osun Osogbo) that has come to represent a point of convergence for the people of the region.
Over a few years now, multi-national companies are reawakening the age long tradition of the Osun people and Nigeria, at large. The people of Oshogbo and Yoruba’s have been known for their communal identity, which reflects in the strong bond which existed among the founding fathers.
And this was subsequently passed on to their descendants as a way of life, which is tied to cultural values as a kind of heritage.
However, one major threat to African culture has been modernization. With the advent of western education, Africans were quick to accept the western way of life, from language, to food, and even dressing.
A quick look into history reveals that most of the age-long cultural heritage of the founding fathers of Africans has gone into extinction with the coming of modern norms and civilization.
While attempt will not be made to question the benefit of the encroaching way of life, it must be said that effort must be made to remind Africans of their root, for the sake of posterity, for which the multi-national companies involved must be given credence.
Despite the gradual fading away of celebrated African cultural traditions, one that has not only stood the test of time, but a reference point, even till today, is the Osun Osogbo Festival. Since 1370, the people of this part of the world, south-west Nigeria, have been able to hold on to what was bestowed on them by their fore fathers.
As a mark of the bond that was established over six centuries ago, Osogbo people gather annually to celebrate what they observe as their founders' day, a unique cultural practice built around the relationship that existed between a river goddess and Oba Gbadewolu Laroye, the first monarch of the Osogbo Kingdom. Inside the Osun grove lies the origin of the Osogbo ascendancy and kingship institution.
Records show that the Osun grove is a highly sacred sanctuary where different shrines, sculptures and artworks have been erected to honour, celebrate and remember all the Yoruba deities in the grove. Because it is generally believed by the people, the sacred River Osun is a goddess and some mythical and metaphorical significance are attached to it.
The Osun is acclaimed as the goddess of fertility, prosperity and healing. Despite the proximity of the forest to human habitation, the grove was traditionally maintained and protected by the indigenous people using myths and belief system.
These prevent any forms of encroachment regarded as sacrilegious and offensive to the gods and goddess. Osun grove was recognized by UNESCO in 2005 as a world heritage site, and this has been linked to the consistence that the festival has enjoyed over the years and the protection of the values of the grove by the people.
Speaking at an event on what has helped to preserve the Osun Osogbo heritage in the face of the threat of civilization, the coordinator of the National Museum, who is directly in charge of the grove, explained that it has to do with consistence.
According to him, “The reason why UNESCO recognized this site, the Osun Osogbo sacred grove, inclusive of the festival, is because of the authenticity that is involved. It is the only festival that, since 1370 AD, has remained what it was originally despite modernity.
There has not been any adulteration, everything has been in its original state, and all the structures that were put in place that form the foundation of Osun Osogbo kingdom are still in existence in the grove. Those are the attributes that you call the authenticity and integrity of a site”.
Osun Osogbo Festival has a two-week programme of events starting with the traditional cleansing of the town called Iwopopo, followed by the lighting of the 500 years old 16 points lamp three days later, called Olojumerindinlogun.
This is followed by Iboriade some four days later, which is the assemblage of all the crowns of the past rulers (Ataojas), for blessings.
The festival’s grand finale showcases the cultural procession of the people to the Osun Groove. As a mark of respect to the Osun deity, the people visit the grove to pay homage to what is now known as the living spring.
And this is being led by the Ataoja, who is the traditional ruler and the votary maid (Arugba), propelled by Yeye Osun, and her committee of priestesses.
The Arugba bore the people age long prayers to the grove, in her calabash of effigy which can only be carried by a virgin, which signifies purity. The procession begins at the palace of the monarch, when the Ataoja is paid obeisance by the Arugba.
From there, she commences the procession to the grove.
As usual, the people come with all their demands, as they visit the river within the grove which has been preserved for the annual convergence. It is the general belief of the people that through the covenant between the goddess and their founding fathers, Osogbo has remained a peaceful, progressive and benevolent city without any ravage of war or pestilence.
The Osun-Osogbo festival with its international status has become a major tourist attraction worldwide. Observation over the years has shown that the period of the festival is about the best time to see the city as people parade the streets in their colours.
The people look forward to it with great expectations, and for the period that it lasts, procession, dance, Art exhibition and colorful carnivals are major attractions of the Osun Osogbo Cultural Festival.
And the event, over the years, has given residents and tourists the opportunity to recreate socially and culturally, as they re-enact one of their renowned age-long spiritual and communal feasts. Corporate organizations have helped to give it the needed awareness to maintain its international status.
By Olaniyi Thevoice Abodedele
