Of Oro, Yoruba Religions, and "Live and Let Live"

(By Pius Adesanmi) - Live And Let Live

If you are Yoruba and you are older than the Facebook or Twitter generation of Nigerians, if you are struggling to cope with expressions such as LOL (laugh out loud) , LMAO (laugh my ass off) OMG (Oh my God), and 9ja (Naija) in emails and texts you receive daily from Nigerians in their teens and twenties, chances are you grew up in a village in Yoruba land where life is suffused in culture, tradition, and a panoply of ancestral rituals and spiritual observances, all instances of man shaping order out of primordial chaos. 

Chances are, growing up, you partook – as audience or celebrant– in a very colourful tapestry of ancestral liturgies: Ogun festival, Sango festival, Imole festival, Egungun festival, and, of course, Oro festival, the fear of which is the beginning of wisdom for Yoruba women. 

Chances are you enjoyed the atmospherics of these observances, partook of propitiatory offal, sang, and danced to a host of inspirational choruses and processionals welcoming the ancestors and the orishas into the realm of unworthy mortals at each spiritual enactment.

There is no Deity like the Mother

(By Funmi Iyanda) - There is no deity like the mother. Orishas are not long suffering doormats or self flattening emotional martyrs. They are deities. Full of power, subservient to no one, knowing that only in her own fullness can she bestow gifts of life, love, energy and power to others. Only the most deserving man gets to be with her as long as he recognises his role is to embellish her. In doing this he finds fuel to be a man of true strength and beauty. She doesn't need completeness, she's whole. In ancient Yoruba land, the woman's worth is closely tied to motherhood but this is however not some simplistic, self congratulatory child birthing which lesser animal are capable of without fan fare. 

The "Great Journey" of Ile-Ife's "Great Crown"

Source: exploringafrica

"In the history of Ile-Ife, 1903 was an earth-shattering year for the yoruba people. It was the year that the Ooni, the god-king of the Yoruba, encountered directly the full impact of British modern colonial rule. From the perspective of the Ooni and from the perspective of the colonial governor in Lagos, the year ended the preceding era and opened a new investiture for Ile-ife City and the Yoruba states of south-western Nigeria.

Although the governor, Sir William Macgregor, referred cursorily to the occasion as the 'Great Crown' case, to Ooni Adelekan Olubuse 1 (1894-1910) and to the Yoruba people, it was a precedent-setting 'Great Journey' because it marked the first time in the history  of Ile-Ife that an Ooni would venture out of his palace and beyond the center of the universe.

For Westerners, the occasion would have been tantamount to asking God to leave heaven to answer the call of a mere mortal.

The Ooni traveled to Lagos, then the center of British regional administration. For the Yoruba, news of the unprecedented journey provoked fear, anxiety, and uncertainty because it was a great taboo for the Ooni to vacate the sacred city of Ile-Ife to travel to another seat of power, however that power might be defined."

Jacob K. Olupona (2011: 77)

City of 201 Gods: Ile-Ife in Time, Space, and the Imagination

Orisha--Triumphing Territorial Challenges

Source: fineartamerica.com

"Currently, new religious movements active in Ile-Ife are engaging in a second wave of missionary efforts (begun in the 1970s and 1980s) to achieve the people's radical and total conversion to Christianity (or Islam), to create a new worldview based on Euro-American conservative Christian values (or conservative Islamic values), and to sow intolerance of indigenous cultures and traditions.

These efforts threaten the destruction of indigenous culture, values, and even language. Indeed, in a number of churches it is forbidden to speak the Yoruba language! There is also an attempt to creat a new space in which these new religions will increasingly challenge the authority and privilege of orisa indigenous culture at the center of Ile-Ife city life.

Although there is ample evidence that orisa traditions are in retreat, there is also significant evidence of their renewal. Throughout the world, Yoruba diaspora communities of the Caribbean and the Americas are repositioning Yoruba-derived traditions--Santeria in Cuba and the United States, Candomble in Brazil, and new orisa traditions among african americans in the United States and Trinidad--as global religious traditions whose influence and consistency extend far beyond the home base in Ile-Ife."

Jacob K. Olupona  (2011: 17)
City of 201 Gods: Ile-Ife in Time, Space, and the Imagination

Ile-Ife: City of 201 Gods

Photo source: wikipedia

"In The Pivot of Four Quarters, Wheatley indicates that no place in sub-Saharan Africa has such cosmic significance as the Yoruba city of Ile-Ife. Known as the City of 201 (or 401) Gods, Ile-Ife is the base of the entire Yoruba civilization and culture, and its significance goes far beyond the immediate geographical boundaries of Nigeria. The religious culture of Ile-Ife has influenced the development and growth of new African religious movements as far off as Brazil, the Caribbean, and the United States.

Ile-Ife, a city of about half a million, is situated at the geographical center of the Yoruba city-states. To the west lies Ibadan... and to the east lies Ondo, gateway to the eastern Yoruba city-states. Isle-Ife is about two hundred kilometers from Lagos, which was Nigeria's coastal capital city for over a century.

Unlike the political, commercial, and administrative cities of Ibadan and Lagos, contemporary Ile-Ife is a ceremonial city par excellence; like the cities of Banaras, Jerusalem, and Mecca. [I]n the people's imagination it is the preeminent sacred place, beyond the secular and the profane."

Jacob K. Olupona (2011: 36)

City of 201 Gods: Ile-Ife in Time, Space, and the Imagination

Yoruba Deities as Movie Superheroes

Photo source: thisisafrica.com

(This is Africa)--"Oya: Rise of the Orisha" is a feature film that blends the Western superhero genre with Yoruba mythology. The film garnered Internet attention following its Indiegogo crowd-funding campaign.

To find out more about the importance of retelling Yoruba mythology on a global stage, and about the strong female character of Oya, we sat down with director Nosa Igbinedion.