Chapter 1

1.0 Introduction

THE YORUBA WORLD More than twenty million Yoruba-speaking people live today in their ancient West African homeland -- southwestern Nigeria and the southeastern Republic of Benin. The Yoruba diaspora is vast. Large communities of Yoruba speakers live in Togo, Ghana, Ivory Coast, Sierra Leone, and other West African countries. Yoruba descendants in the Americas (either by blood or by a sense of belonging) are uncountable. Large numbers live in Brazil, Cuba, Trinidad, Haiti, and elsewhere in the Americas, where Egungun performances honour the departed in such places as Oyo Tunji, South Carolina, New York, Chicago, and Milwaukee. A number of key historical and social factors may help us understand some of the reasons for the dynamic cultural vitality and the deep and widespread impact of Yoruba religious and artistic traditions over several centuries. One factor may be that Yorubas have been for many centuries urban peoples. When we think about living patterns in Africa we often think of isolated villages scattered in rain forests. But this is not the case for the Yoruba who like to live in large urban settlements. The biggest cities in black Africa are Yoruba cities and they have been for many centuries. The sacred city of Ile-Ife is regarded as the place of origin of human life and civilization. From about 1000 BP, it and another urban center, Oyo, were major population centers. Urbanism is a key cultural trait that helps explain the richness, dynamism, and diversity of the arts and their importance in Yoruba society and thought. Unlike typical modern suburbanites, they live in cities, "commute" daily outward to their farms and markets, and then return at night for celebrations, rituals, and social gatherings of one kind or another. Urbanism breeds urbanity. Oral histories suggest that Egungun masking developed in one of the northern Yoruba city states, Oyo, that became the powerful Oyo-Yoruba Empire when it extended its influence far beyond Yoruba-speaking people in West Africa, because of its military prowess, in particular, its professional cavalry which controlled a vast area. The fourth ruler (alaafin) of Oyo was Sango, a renowned warrior. Because of his contributions and reputation, he became a divinity and joined the pantheon of deified ancestors known as orisa. The word refers to those individuals who distinguished themselves by the contributions they made to the world during their lives. As one of these, Sango is associated with thunderstorms, because of his hot

temper and fickle, volatile personality. His primary symbolic color is hot red, yet this is balanced with cool white, because of his friendship with other more patient, cool gods like Obatala. Red predominates in many Egungun ensembles. Also, the double-headed drum sacred to Thundergod Sango, the bata, is the principal drum for Egungun. The drum's stacatto rhythms and sharp, cracking sound are likened to a thunderclap and the flash of lightning. Yorubas say of their culture that it is like "a river that never rests." This stresses the dynamic, ever-changing qualities of culture. Culture, in order to survive and thrive, must be ready to change, adapt, and move continually, the way a river does. They recognize that some shallow parts of a river change quickly, adapting to rapidly changing conditions. But they also recognize that other parts of a river are deep, move much more slowly, and change little. Yorubas consider the deep parts of their river of culture as harboring basic, fundamental philosophical concepts, foundational principles or ipilese--ideas and ideals that serve as guides to show them the way through lives filled with changes and challenges. The Nigerian custom is the symbol of identity of the country since her independence, and this has greatly contributed to her magnificent popularity in the continent and tremendously given her the name Giant of Africa. Nigeria is a country rich in petroleum as the major source of revenue but the contribution of the Nigerian custom in tourism cannot be taken for granted. Many Nigerian customs today have turned to both national and international tourist centre fetching the country huge amount of revenues. Some of the tourist attractions include Obudu hills, Osun festival, Egungun festival, Argungu fishing festival, e.t.c. Egungun festival is part of the Yoruba religious system sometimes referred to as orisa. Egungun is celebrated in festivals and the rituals through the custom or masquerade. An elder from the egungun family called Alagbaa sometimes presides over the ancestral rites, but egungun priests are the ones in charge of invoking the spirit of the Ancestor and bringing them out. The invokation is done when the egungun worshippers dance, drums, and possessed by the ancestral spirits, that they beat everybody they see with their Whips. They believe using the Whip against people could help to clean the community from wickedness. After this, the egungun priest advice, warn and pray for their spectators, and people give them money which evidently results to the priests becoming richer. Egungun is otherwise known as the masked ancestors of the Yoruba kingdom which assures the people that the dead are among the living. The chief priest of egungun that does invoke the spirit of the ancestors is called Alapini. The festival is celebrated annually in the Yoruba kingdom, in almost all the towns and cities and this has

tremendously contributed positively to the Nigerian economy, and also helped to foster unity among indigenous people. For Yoruba-speaking peoples in West Africa, cloth is equated with their most precious possession, children. The proverb omo l'aso eda, "children are the clothes of a person," points out that children, like clothes, are what one shows to the world and is judged accordingly. Valuable textiles are what Yoruba use to celebrate the power and presence of their ancestors in exquisite masquerade ensembles known as Egungun. In the world of Yoruba-speaking peoples, Egungun is the masquerade tradition that honors one category of spiritual beings ancestors those departed who are no longer present in physical form but who are still present in spirit. While these usually occur as annual festivals of remembrance, renewal, and re-dedication, they also take place at special occasions such as funeral celebrations or at moments of social crisis and catharsis like droughts, epidemics, or social upheavals. Yorubas use the full range of their artistic imaginations and powers of inventiveness (imoju mora) to give visible, tangible form and substance to the normally invisible presence of ancestral spirits. Using the unique qualities of textiles--their textures, colors, weight and flexibility--they create moving (both literally and figuratively) experiences of the spirits of their departed loved ones. For Yoruba, these performances are serious business. At the same time, they are also serious play (ere), for Yoruba are creating an elaborate multi-media and multi-sensorial event that is meant to please and honor ancestors who, like all of us, enjoy homage and respect, as well as a good laugh! Thus many Egungun ensembles impress with their sumptuous materials and symbols of power and prestige, while others provoke laughter in their humorous or satiric portrayal of human (and divine) foibles. Yoruba strive to put on a good spectacle (aworan), a party for their departed family and community members. For Yoruba, the playfulness and surprise of improvisation are essential for the success of any artistic endeavour, whether object or event. Inviting the return of ancestors is to play with forms and ideas in order to make onlookers think in new ways about their world: not only about the shared past and imagined future, but themselves and the conduct of their mortal lives. According to the myth, egungun becomes a known deity in two different way s. In the beginning, egungun was among the great divinities (IRUNMOLES) that came directly from the heaven beyond .The history made us aware that there was once lived a great man whose

name was called LAPANPA , he was the one that started the cult of EGUNGUN. According to IFA verse ONA NI KO TO TARARA NI MO Y A LODIFA FUN LAPANPA TI O TI ALADE ORUN LO RE E MEGUNGUN WAY E OLODUMARE WA FUN UN LEGUNGUN EGUNGUN TI ELEDUMARE FUN LAPANPA KII SE EY I TI O DA ASO BORI SUGBON O DABI ORI BI LAPANPA TI GBA KINNI TI O DABI ORI Y II O NPADA BO WA SAY E OORUN MIMU SI NY O ORI TI LAPANPA MU LOWO TRANSLATION The path is not straight I branch and follow the path This divine IFA oracle for LAPANPA That started his journey from the heaven above To bring the cult of EGUNGUN to the physical world The believe that, GOD gave him EGUNGUN The type of EGUNGUN given to LAPANPA by great GOD Was not the type that covered head with long cloth? But looks like a Shea-butter He returned to the physical world

The sun heated the Shea -butter brought by LAPANPA He thought of what he could do to protect the Shea-butter from melting away, he later hid the remaining ORI (Shea- butter) in his mouth to prevent it from total melting and wasting away .On getting to the physical plain of existence. He wanted to alter a word saying MO DE TI ,O FE KE NI OHUN RE BA Y I PADA translating I have, before he could alter such a powerful word, his voice change because the Shea-butter had melted and slipped into his throat . His voice changed and resembled not the voice of his contemporaries. He was ashamed of his voice, his character and his life. He was planning what to do to prevent the shame. He decided to cover his own head with cloth. Whenever he wanted to speak out, he noticed a strange voice, completely different from the normal voice of his generation of his days, thus, people became exceedingly grip with fear. People started to revere him that consequently resulted into EGUNGUN CULT. Meaning ORACLE FROM HEAVEN OR DEITY FROM UNKOWN THAT REPRESENT SPIRITUAL PAST OF THE PEOPLE

The second myth was, there was a great grandchild of ODUDUWA whose name was called OBONBA. This man had three children. The first child was called ALARA, the second was called AJERO , while the third was called ELEKOLE . On reaching adulthood, they lived in different cities far away from IFE. They later, became the king of three different cities in Yoruba land. It was believed that their grand- mother killed their father OBONBA because she was a witch , however , as these three children become advanced in age, and they wanted to inherit the exalted position of their father .They were gripped with fear of their grand-mother who had previously killed their father with her witchery . This made them sought spiritual advice in the house of IFA priest, which according to IFA verse came out

PAAFA TEERE NII LEKE OMI LO DIFA FUN OBONBA TO TORUN RO WA Y E BABALAWO NI KI WON RU EBO Y II ASO OY EPE MEJI ATI ASO GOGOWU OKUNRIN

ALAWE MERINDINLOGUN NIGBA TI AWON BABALAWO DE IGBO IGBALE ENI TI Y OO SE ETUTU SO FUN WON PE OUN RI BABA WON LORUN O SI SO FUN OUN PE KI OUN KI WON LAY A ATI WIPE KI WON O MAA RU EBO SI OUN LODOODUN EY IN TOO JE AMI ATI APEERE IRANTI OUN ATI PE IPA IY A WON AGBA TABI AJEKAJE KO SI NI KA WON Translation: PAAFA TEERE NII LEKE OMI--- PAAFA TEERE IS ALWAY S ON THE SURFACE OF THE RIVER This divine IFA oracle for OBONBA Who was coming from the heaven above to the physical world IFA priest advised them to offer sacrifice OYEPE cloth two yards GOGOWU men cloth sixteen yard When IFA priest reached the forest of secret (IGBO IGBALE The man who wanted to offer the sacrifice Said he saw their father in heaven Telling him he should helped the three Children to be brave, strong and vehement And that they should always offer annual sacrifice to him As a sign and pact toward ancestral support As a remembrance of his continue existence And their grandmother, who was his (OBONBA) mother

Or any other witch would not have influence on their blessing or overcome them According to the tradition the name of this IFA priest was called BABATUNDE ESA OGBIN, he was the first ,ALAPINNI , the head chief of EGUNGUN cult in the land of Yoruba. These children got all the sacrificial materials, took then to the forest of deities (IGBO-IGBALE) . On getting to the forest of deities, they tailored OY EPE cloth similar to EGUNGUN cloth , they sewed GOGOWU cloth to cover the head of image that look like human structure, and , they did the same with shoes and the socks , BABATUNDE , the first priest of EGUNGUN cult wore the cloth and he went to the house of the grand mother. On seeing her , that is, their grandmother , she was gripped with fear because she had not seen EGUNGUN in her life . The rumour in the cities was that the dead father of the children came to visit his children on earth. The rumour also reached their grand-mother , and she was filled with awe. According to the myth, anybody under the attack of the witches and the wizards , IFA priest will invoke the spirit of EGUNGUN to deter such a negative vibration . The children claimed their inheritance and they were installed as the king of three different cities in Yoruba-land . That was how EGUNGUN cult sprouted up in land of Yoruba , from there , the cult gained prominent significant among Yoruba in Diasporas and devotees of IFA all over the world. EGUNGUN becomes a special divinity to be worshipped annually among devotees and also as a sign and pact with the spirit of dead to bring into manifestation the blessing of heaven upon the people of the earth. It is also a remembrance to the spirit and the soul of the dead. It teaches people that their beloved one who has departed to the world beyond should not be totally forgotten but constantly be in their memory through the cult of EGUNGUN. EGUNGUN really means "bone," hence "skeleton," and Egungun himself is supposed to be a man risen from the dead. The part is acted by a man disguised in a long robe, usually

made of grass, and a mask of wood, which generally represents a hideous human face, with a long pointed nose and thin lips, but sometimes the head of an animal. Egungun appears in the streets by day or night indifferently, leaping, dancing, or walking grotesquely, and uttering loud cries. He is supposed to have returned from the land of the dead in order to ascertain what is going on in the land of the living, and his function is to carry away those persons who are troublesome to their neighbours. He may thus be considered a kind of super natural inquisitor who appears from time to time to inquire into the general domestic conduct of people, particularly of women, and to punish misdeeds. Although it is very well known that Egungun is only a disguised man, yet it is popularly believed that to touch him, even by accident, causes death. A crowd always stands round watching, at a respectful distance, the gambols of an Egungun, and one of the chief amusements of the performer is to rush suddenly towards the spectators, who fly before him in every direction in great disorder, to avoid the fatal touch. To raise the hand against Egungun is punished with death, and women are forbidden, on pain of death, to laugh at him, speak disparagingly of him, or say he is not one who has risen from the dead. "May Egungun cut you in pieces," is an imprecation often heard. Egungun is thus at the present day a sort of "bogey," or make-believe demon, whose chief business is to frighten termagants, busybodies, scandalmongers, and others, but it seems probable that originally he was regarded as the incarnation of the dead, and that the whole custom is connected with manes-worship. In June there is an annual feast for Egungun lasting seven days, during which lamentations are made for those who have died within the last few years. It is a kind of All-Souls festival, and resembles the Affirah-bi festival of the Tshi tribes, described in the first volume of this series. Moreover, Egungun also appears in connection with funeral ceremonies. A few days after the funeral an Egungun, accompanied by masked and disguised men, parades the streets of the town at night, and, as in the Roman onclainatio, calls upon the deceased loudly by name. A superstitious and half -frightened crowd follows, listening for any response that may be given to the weird cries of the Egungun. A few days later the Egungun, again accompanied by several followers, proceeds to the house in which the death took place, and brings to the relatives news of the deceased, usually that he has arrived in Dead land safely, and is quite well. In return for the good news the family set food, rum, and palm-wine in a room of the house, and inviting the Egungun to partake of it, themselves retire, for to see Egungun eating is death. When Egungun and his followers have

consumed everything loud groans are heard to issue from the room, and, this being a sign that be is about to depart, the family re-enter and entrust him with messages for the deceased. In Yoruba country, and he appears in a long robe of cotton-print, with a piece of cloth, having apertures for the eyes, covering the face and head. Spectators soon gather round him, and though, if asked, they will tell you that it is only "play," many of them are half-doubtful, and whenever the Egungun makes a rush forward the crowd flees before him to escape his touch.

Chapter 2

2.0

Classification of Egungun types

The classification of Egungun types, which might appear to be a fairly straightforward

task, is in fact an extremely complex problem involving the comprehension of indigenous taxonomies. The difficulties include: the problem of distinguishing between personal Egungun names and generic terms for types; the problem of determining "sets" where one masquerader may be regarded as within several type categories simultaneously; the practice of "layering," in which a masquerader wears one costume type over another and changes these during performance; and the variety of criteria used to classify Egungun as well as the range of variations within type categories. Such factors demonstrate the complexity attending the analysis of indigenous taxonomies and the classification of masquerade types. These same difficulties arise in the definition and use of the term Egungun itself.

Amongst the Yoruba, the annual ceremonies in honor of the dead serve as a means of assuring their ancestors a place among the living. They believe the ancestors have the responsibility to compel the living to uphold the ethical standards of the past generations of their clan, town or family. The Egungun is celebrated in festivals, known as Odun Egungun, and in family ritual through the masquerade custom. In family situations, a family elder known either formally or informally as "Alagba" presides over ancestral rites. He may or may not be initiated into the local Egungun society. In matters that deal with whole communities, Egungun priests and initiates who are trained in ancestral communication, ancestral elevation and funerary rites are assigned to invoke and bring out the ancestors. They wear elaborate costumes in masquerade. Through drumming and dance, the Egungun robed performers are believed to become possessed of the spirits of theancestors, as manifested as a single entity. The Egungun spiritually clean the community; through the dramatic acting and miming of the robed priests, they demonstrate both ethical and amoral behavior that have occurred since their last visit. In this way, they expose the strengths and weaknesses of the community to encourage behavior more befitting of their descendants. When this performance is completed, the performers as Egungun give messages,

warnings and blessings to the assembled spectators. Important Egungun include the Oloolu and Alapansanpa, both of Ibadanland. Elewe of the gbmn Yoruba clan, which is common in the towns of k-l rngn, l rngn, and Arandun, is also of particular prominence. In Brazil, the main cult of the Egungun is found on the island of Itaparica, in the State of Bahia. Houses of worship dedicated to the Egungun also exist in other states. One type of Egungun, called Egungun agba, means literally "senior/elder Egungun". This Egungun probably honors a royal lineage as indicated by the beaded veil reminiscent of those on royal beaded crowns. In addition to celebrating its royal heritage, this family's masquerade also honors its hunter and warrior ancestors. Animal horns with spiral patterns crown the headdress. Horns are typically containers for powerful medicines, empowering substances with ase that are used to protect and strengthen persons. Due to the partrilineal basis of most Yoruba-speaking peoples, Egungun agba usually honor male ancestors while still symbolizing the entire lineage of men and women. But there is an Egungun masquerade that specifically honors foremothers. It does not come out as often as the others but only on the most important ritual occasions. In contrast with the elaborately embellished, multicolored ensembles for male ancestors, the masked embodiment of "our mothers" is simple and totally white. The color white (funfun) evokes a host of ideas -enormous concealed power, or ase, coolness, composure, patience, age, wisdom, sanctity, and nurturance. The appearance of iya agba, the "great ancestral mother," brings assurances of protection and support. Another type of Egungun agba known as baba prikoko ("ancestral father-who-walks- about") refers to the fact that such Egungun march through the town, visiting certain families, dignitaries, and sacred sites during their "outings." Such processions are like journeys or pilgrimages that re-enact episodes in the histories of ancestors and families. Their distinctive construction is a long train of cloth, a long tube of fabric that trails on the ground or is carried by a series of junior Egungun attendants. Older Baba parikoko are made of locally woven and indigo-dyed cloth known as aso oke, traditionally the most expensive and valued prestige cloth in Yorubaland. More recent baba parikoko cover this older prestige cloth with other expensive materials, textiles that come from markets all over the planet. Yoruba have been active cloth traders for many centuries (and continue to be today), buying and selling fabrics of every imaginable type and style. When they put together an Egungun ensemble they prefer the most expensive, most fashionable, most up-to-date styles to celebrate their ancestors. Thus, to honor the past, the family wants to demonstrate its vitality and sophistication--its

active engagement with the present and with the global economy. They want to obtain the finest cloth they can find in the marketplaces of Nigeria, Benin, and the world, for this is an expression of their "buying power," status, and devotion. If the height of a skyscraper is the symbol of corporate power, success, and identity in the capitalist West, then the length and elegance of baba parikokos cloth trailing on the ground is a Yoruba symbol of family longevity, power, prestige, and presence. Making an Egungun, like the creation of all sacred arts among Yoruba peoples, is a sacrifice, an ebo. It is a tangible offering meant to secure good fortune through the support of ancestors and deities. Each year, Egungun families add or replace the cloth in these trains, extending and refurbishing them with fashionable cloth to proclaim their lineage pride. In a sense an Egungun ensemble is a history of textiles related to family history. As one peels back the layers upon layers of cloth panels, one is moving backward in time to the earliest textiles used to enclose the performer, usually the strip-woven prestige cloth, aso oke. Each layer represents the aesthetic choices of generations of family members. Some Egungun combine exquisite cloth ensembles with elaborately carved headdresses. One from a hunter's family is distinguished by its dramatic coiffure, a long tuft of hair that descends to the left and terminates with an amuletic medicine container. Carved skulls of animals killed and sacrificed are intended as signs of the hunting prowess of a family's ancestors. Such ensembles do not celebrate specific individuals, but rather the collective ancestors of a family over many generations. Elebiti is another type of Egungun agba. A panel of wood at the top is covered in cloth and moves on a kind of hinge. It is flipped forward and backward at different times during the performance. It has been likened to an animal trap, and may therefore be considered another reference to hunting. Besides using printed patterns and colors on commercially made cloth, Yoruba often embellish and transform such trade cloth in inventive ways. One method is to pattern cloth using intricate appliqu and reverse-appliqu techniques. The variety of disk-like motifs, chevrons, spirals, and interlaces probably has sources in North African Islamic arts that came to Yorubaland via ancient trans-Saharan trade routes. The interlace motif in Yoruba arts is a sign of infinity -- the eternal spiral of life/afterlife/re-birth and regeneration -- and the complexity of life's problems and challenges. It probably comes into Yorubaland through Islamic sacred knot patterns that are widespread in Western Africa. Another important motif is the chameleon, which for Yoruba is a supreme symbol of transformation and liminality, like ancestors. Yoruba ideas about chameleons come from having closely observed their

attributes and actions. These are creatures that can change colors in order to blend in with their surroundings. A famous Yoruba story tells of how the chameleon defeated all his enemies in a fashion contest since he could match whatever they selected to wear! Chameleons walk slowly like elders and have eyes that move independently; like ancestors, they can see the past as well as the future. The construction of layered lappets of decorated cloth suspended from the top contribute a stunning vision when the masker is in motion. Egungun frequently whirl in circles, twist and turn, leap up and perform high-energy kicks. When they do, these panels flutter and fly outward on the air, creating an illusion of an ephemeral presence. The ancestors are present, as otherworldly spiritual entities, not as physical beings like us. The cool breeze created by their whirling panels is said to be a "breeze of blessing." Egungun known as alabala have a distinctive style feature--a patch-work facing of triangles or squares of sharply contrasting colored cloth. Such an effect activates and energizes the dancing ensemble, reinforcing and heightening the ephemerality of these otherworldly spirits. They play with each other and chase onlookers, creating chaos and laughter in the crowd. Some of the children are really scared. They run to their parents for protection. The older kids laugh and taunt the masqueraders. There is a lot of interaction between the audience, especially the kids, and the masquerades. Successful Yoruba performances are filled with a lot of give and take, interactions between masqueraders and audiences that give this multimedia, multi-sensorial experience its aesthetic power and energy. Everyone contributes her or his ase to empower the ancestors, selecting elements from the past and transforming them into vibrant visual statements about the present and about hopes for the future.2 This is the dynamic of Yoruba culture, a river that never rests.

2.1

Egungun Ensembles
Cloth plays an important role in the world of the Yoruba. Their myths equate

nakedness with infancy, insanity, or the lack of social responsibility.[3] More elaborate dress reflects social power and prestige. In performances honoring ancestors, exquisite cloth is the major medium for the masker's transformation. An Egungun costume is composed of multiple layers of cloth lappets made from expensive and prestigious textiles, expressing the

wealth and status of a family as well as the power of the ancestor. The composition of an Egungun ensemble has several distinctive features. The layer worn closest to the masker's skin, the undersack, must be made of asooke, the indigo and white strip-cloth (Fig. 6). It closely resembles the shroud in which the dead are wrapped. This sack, along with the netting for the face and hands, must completely seal the masker's body. The netting effectively disguises facial and hand features that might disclose his identity. On top of this base are placed the layers of lappets. As the masker whirls, the lappets are sent flying, creating a "breeze of blessing." The design of the costume is therefore closely related to the choreography of the performance. Henry Drewal hypothesizes that the breeze of blessing created by the Egungun may also relate to Oya, the wife of Shango, the god of thunder.[4] Oya is the whirlwind, considered a wind of blessing, that precedes Shango, the storm. To make the costume beautiful, and thus powerful, the lappets are decorated with patchwork patterns, braids, sequins, tassels, and amulets. The amulets hold medicinal preparations which have performative power (ase), providing protection against enemies at a time when the transformed person is vulnerable. The main protective amulets, however, are on the inside of the costume, not the outside. An ensemble is repaired and refurbished for use year after year, with layers of new lappets and amulets added to express remembrance and honor. Through divination, however, an ancestor might request a new costume altogether. The owner and the patron, the priest of divination, the tailor, the herbalist who prepares the packets of medicines, and the entire lineage collaborate in creating the ensemble. Depending upon its wealth, a family may own several types of Egungun costumes, which may represent specific or collective ancestors of the lineage. The Egungun ensemble acts as the medium for the masker's transformation into his ancestors. An Egungun society is composed of men and women whose lineages have the right to present the masquerade. Men do the masking. Women never wear the costume, although they participate in the chorus that sings the oriki (praise poems) and histories of the families. Elder women of high title also perform invocations, prayers, and offerings. At annual festivals, each of the numerous lineages is given a separate day to perform. The masker is kept at a distance from the surrounding crowd with the help of attendants dressed in masquerade costumes of different types. After all the Egungun have danced, the ensembles are stored until the next performance.

2.2

Power in Cloth
The Yoruba have a rich material culture landscape and history. They have produced

and continue to make some of the most widely appreciated art in the world. Among their renowned skills, is their ability to produce varied and intricately designed cloth such as adire (cassava paste and indigo print and dye method) and aso oke (strip woven indigo cloth). In this section, I will discuss the way in which textiles are used in Yoruba dress and dance and relate these practices to that of the egungun masquerade traditions. A common saying in Yorubaland is Asp la riki ki a to ki eniyan or It is the cloth we should greet before greeting the wearer. This saying illustrates that in some contexts the cloth that the person wears is more important than the physical attractiveness of the person themselves. It also indicates that ones importance or status is tangibl y linked the garments they wear and cloth they possess. Clothing such as the agbada and the dandogo are excellent examples of the importance of cloth and its use in clothing in Yoruba culture. An agbada," is a large, voluminous garment made from strip woven cloth worn by men. It is made from many strips of cloth sewn together with armholes extending past the natural length of the arm which are then folded up onto the shoulders, allowing the excess to flow down on the The dandogo is a larger version of the agbada. The term dandogo derives from the Hausa word dogo meaning to grow larger. The theme of becoming larger through clothing is what Beverly Gordon describes as the big cloth equals big man phenomenon whereby clothing is used to not only enhance physical stature but also personal and social status of a given man. A garment in which the use of cloth closely mirrors that of the egungun masquerade is the gbariye dandogo, the cloth with pleats worn by traditional dancers in Yorubaland: The gold and indigo strips are cut and sewn together (pleated and tapered) so that the skirt flares, extending into the surrounding space, forming almost a full circle, revealing the dancers feet and trousered legs. The dancer whirls, bending forward at times so that the skirt undulated, revealing the contrasting colors of the cloths lining. It is the cloth, not the dancer, that is the center of attention; and those standing nearby invariably feel the movement of the air as the dancer whirls before them and the cloth comes alive. When one compares the image and description with that of the egungun, the similarities are striking The senior bata drum sounds the phrase, titiketike, which the junior drum repeats, and suddenly the Egungun image is whirling with all his might, the cloths about his body blowing in the windThe other Egungun uses all his power in performance. As soon as

the drums start, he begins to dance, all his cloths swirling like a violent breeze. One can see how the use of cloth and the cultural sensitivity to its spiritual and physical properties is echoed again and again in Yoruba ritual settings. What is central in both dances incorporating gbariye dandogo and egungun masquerade is not only the abundance and use of cloth but the swirling motions and the resulting wind created in both performances. As Thompson suggests, the creation of wind through the movement of cloth, particularly in the egungun tradition is related the myth surrounding Oya, the goddess of whirlwinds and her role as the wife of Shango, the Thundergod. What is exhibited in both gbariye dandogo and egungun are the essential elements: cloth, wind and power. The importance placed on cloth, particularly in its use in Egungun masquerades, draws from myths and beliefs surrounding the practice. Folklore suggests that cloth, particularly red cloth, has apostrophic qualities and that it was once used to ward off disease and epidemics. Even the saw tooth borders known as igbala, which edge the lappets has ties to this myth. It is believed that Shango, the Thundergod, was spared from the epidemic because his followers used red cloth with saw-tooth edging to ward off the sickness: The word, igbala, means: something that saves a person. In this way, cloth is believed to have immortal and powerful properties that when combined with song, dance and ceremony, can affect the lives of the Yoruba people. The immortal properties associated with Egungun inevitably have ties to the fact that the Egungun performer and their costume acts as a bridge between the worlds of the living and the dead, both by invoking ancestral spirits as well as through the use of cloth closely associated with funeral rites and shrouds. The Yoruba believe that we were born wearing cloth. Furthermore, the close link between cloth and immortality can be found expressed in divination poetry explicitly connecting cloth with the creator, Olodumare: Young ones never hear the death of cloth, Cloth only wears to shreds. Old ones never hear the death of cloth, Cloth only wears to shreds. Young ones never hear the death of Olodumare, Cloth only wears to shreds. Old ones never hear the death of Olodumare Cloth only wears to shreds. Through these links, one can see the explicit connection the Yoruba make between cloth and

lifecycle, their cosmos and power. Understanding these connections is fundamental in terms of examining Egungun and their meaning. sant.

Chapter 3
3.0

Egungun festival
In the first place , the chief priest of the cult of EGUNGUN will take a lead after a due

consultation with EGUNGUN dev otees, on the spiritual direction of IFA oracle to give light to ev ery step toward achiev ing a successful festiv al . One of the highly placed priests of EGUNGUN cult , most especially ALAGBA would ask IFA oracle again about the duration of the festiv al that can be either three, fifteen or sev enteen day s. After IFA has spoken and day s chosen , the priest of egungun would go and report to the king to sanction and sanctify the day s of the festiv al. Hence both the priest of egungun and the town crier of the king would announce the day s to both the devotees and the populace in general. The announcement precedes the commencement of the festiv al . While all worshippers both in the city and in the neighbouring v illages would really prepare for the festiv al , and they would bring fire sticks to prepare the food , beans, pepper , chicken , maize , cassav a flour and other materials for EGUNGUN festivals The first day is alway s fall on the day of EGUNGUN according to IFA v erse OJO NI IBO ESE AWO meaning the first day alway s fall on the day of secret and its ritual EGUNGUN represent in reality ancestral div inities that shows the belief of IFA devotee in the life after death and the resurrection of ev ery soul in the univ erse. The remembrance signifies that ev ery soul in the univ erse must ensure that he works toward making a univ erse , most especially the phy sical world a place of learning , and for the redemption of soul to attract the wisdom and light of ODU , the v ibration from OLODUMARE. IFA teaches us to learn and to turn our learning into meaningful step to shape our life on the daily basis, ORI BABA RE AGBE OOO ORI IY A RE AGBE OOO ASEY I SAMODUN OJO AJI NA SI ARA WON EGUNGUN A GBE WA OOOO TRANSLATION The soul and the spirit of y our father will lift you The soul and the spirit of y our mother will lift you

Annually, we shall all be blessed We shall liv e long to attract the blessing of GOD EGUNGUN will bless us

3.1

THE WORSHIPPERS OF EGUNGUN

ALAPINNI --- The head priest of EGUNGUN cult ALAGBAA--- is the head of the OJE, ---second in command to ALAPINNI ALARAN--- it is the third in command in the hierarchy of EGUNGUN cult . It is second in command and important to ALAGBAA EESORUN--- mostly women, they are fourth, most important title , and rev ered position in the cult of EGUNGUN AKEERE--- it is the least most important position in the cult of EGUNGUN OJE---- this is the name giv en to all EGUNGUN worshippers EGUNGUN SIGN ATORI , EY I TI AFIN TI A SI DIPO NI AMIN EGUNGUN, THAT IS ATORI ( GLY PHAEA BREVIS (SPRENG) MONACH,TILIACEAE) remov e parts of outer-coat , heated with fire and bind it together is the sign of EGUNGUN SACRIFICIAL MATERIALS ORUKO -MALE GOAT (HE GOAT) AKUK O- COCK (MALE HEN ) OBI - KOLANUTS EITHER WITH THREE, FOUR , FIVE, SIX LOBES OOLE OR OLELE--- THAT IS , A BEAN FLOUR , MIXED WITH INGREDIENTS( PEPPER , ONION , TOMATOES AND OTHER FLAVOR ( WRAPPED INSIDE A LEAVE OR NY LON AND COOKED IN THE EXTREMELY HOT WATER DIE NINU ORIKI EGUNGUN, - PARTS OF EGUNGUN ADORATION AJE OLELE MA LE E SARE EATING OLELE TO THE STATE OF RUNNING LESS AJE MOIN -MOIN SU SASO

EATING COOKED BEAN FLOUR TO THE EXTENT OF EXCRETING ON THE OWN BODY EGUNGUN ARA OKO EGUNGUN FROM THE TRIBE OF OKO ANOTHER ORIKI EGUNGUN -- ADORATION OF EGUNGUN ODUN PE AWO ELEJIO THE Y EAR COMES , THE SECRET OF THE OWNER OF EJIO OSUN OMO ARINNAKO MONTH, THE CHILDREN OF ARINNAKO AJODUN WE RO DE AWO AROSINKO THE CELEBRATION GOES BEY OND IMAGINATION, THE SECRET OF AROSINKO ODUN LA RA TA, ODUN LA ROBI EVERY Y EAR , WE SEE PEPPER, Y EARLY WE SEE KOLANUTS FRUITS ODUN WADI PEREGUN Y EAR BECOME PEREGUN( DRACAENA ARBOREA) ODUN NI PEREGUN Y E Y EARLY PEREGUN IS ALIVE AJODUN WA RO DE AWO AROSINKO OUR CELEBRATION GOES BEY OND IMAGINATION, AND THE SECRET OF AWOSINKA EGUNGUN OJE Y AWA JIY O, WA JEPO ALL EGUNGUNS DEVOTEES AND ITS WORSHIPPER COMES AND EAT THE SALT AND THE PALM OIL ADUDAMADA BI ENI PORI ADUDAMADA LIKE MELTING THE SHEA BUTTER OY O FUN SARA RE LO Y IN MELTING ITSELF LIKE THE SHEA-BUTTER Y AGBO-Y AAJU BI OSUN IWERI LIVING IN THE FOREST AND IN THE JUNGLE LIKE FEMALE DIVINITIES OF IWERU AGBALAGBA Y A WA JIY O WA JEPO THE ELDER COMES AND EATS THE SALT AND THE OIL ODU WA DA PEREGUN

OUR Y EAR IS LIKE THAT OF PEREGUN ODUN NI PEREGUN Y E EVERY Y EAR PEREGUN LIVES EMI SESE TI KOWE DUN WITH CALMNESS AND MY STERIOUS VOICE WAS THE SOUND OF KOWEE (A SPECIAL BIRD THAT INFORM US OF FUTURE DEATH , OR IMMINENT DEATH OF A FAMILY , OR BELOVED ONES)

SONGS OF EGUNGUN CULT:

IY A UN O FE LEGUN O JARE FELEGUN (2TIMES) BABA UN O FE LEGUN O JARE FELEGUN( 2 TIMES) BODUN BA DE MA ME GBA DANI FELEGUN BOSUN BA DE MA KERO LEY IN FELEGUN ORO Y I A DARI WO BE JE FELEGUN TRANSLATION MOTHER , I WILL LIKE TO MARRY A MEMBER OF EGUNGUN CULT LET ME MARRY ONE OF THEM( 2 TIMES) FATHER, LET ME MARRY ONE OF THE DEVOTEES OF EGUNGUN SECT LET ME MARRY ONE OF THEM EVERY Y EAR , I WILL TAKE UP MY WHIPING STICK THAT GIVE ME THE STRENGTH TO CARRY OUT MY EGUNGUN RITE EVERY MONTH , I WILL GATHER PEOPLE FOR EGUNGUN FEAST TO DISCHARGE MY EGUNGUN DUTIES IT WILL BE A TOTAL CHAOS , IF Y OU SHOULD NOT ALLOW ME TO CARRY OUT MY EGUNGUN RITE

OTHER SONGS OLOBI MAJE NBI KO WU MI OOO OLOBI MAJE NBI KO WU MI OMO BII OLUMOKO OOO OLOBI MA JE NBI KO WU MI TRANSLATION NEVER ALLOW EVIL DOERS TO AFFLICT EVIL UPON ME NEVER ALLOW EVIL ONES TO DESTROY ME WITH EVIL LIKE THE CHILDREN OF OLUMOKO NEVER ALLOW EVIL TO BEFALL ME ANOTHER MY TH SORROUNDS THE CULT OF EGUNGUN EGUNGUN ARA ORUN KIN-KIN? EGUNGUN, THE HEAVENLY HOST FROM ABOVE It is a deity with a colourful dress , it is one of the greatest div inities in the land of Y oruba. Among oral traditions, there are lot of stories about EGUNGUN cult and how it sprouted up among Y oruba race IFA told us about a man called KUJENRA who turned the cloth of ORO to EGUNGUN , which attract peoples adoration of this said cloth and consequently led to the object of worship. While other my ths made us to know that EGUNGUN and ORO are of the same family that is brothers. The my th went further that both ORO and EGUNGUN were good merchants . They took their trade to neighbouring cities . ORO was a spendthrift , squandered and a compulsiv e shopper. He had no reserv e ,while EGUNGUN was found of pleasing himself with v arious cloths and meticulously dressing himself to taste. When it was a time to go back to their town , EGUNGUN put on beautiful , elegant and flamboy ant dresses while ORO could not hav e a good wear on his body because he was a wastrel. This brought shame , dishonour and indignity to him. In disgrace , he was forced to enter into forest v ery close to their city , while his brother EGUNGUN entered the city with ex otic and ostentatious dresses that befitted the glory of OLODUMARE and his statues as a rev ered deity . ORO , liv ed in the forest nearby , but designed a mean to intimidate people in the market place whenev er he wanted to buy food with his strange noise of NO MU UN , NO MU UN . This unusual attitude was to bully and frighten the people in the market to run and leav e their good behind. When people ran helter-skelter for their liv es , ORO would cease the opportunity to take all what he wanted and the food to support

his continues stay in the forest. That was how ORO became a fearful being that ev entually turned to a deity ,worshipped by men, while his brother EGUNGUN also become an attractiv e deity among Y oruba and the cult later spread to the other part of the world.