OSUN OSOGBO FESTIVAL: ITS ORIGIN, NATURE AND

SIGNIFICANCE FOR GLOBAL YORUBA CULTURAL ADVANCEMENT

Siyan Oyeweso
Professor Siyan Oyeweso of the College of Humanities and Culture,
Osun State University is the immediate-past Provost of the College.
Email: gafoye@gmail.com.
Introduction

In most African societies, cultural festivals have their roots in the early history of the
communities where they are celebrated. The periods of traditional festival celebrations
are also times of cultural reflections as they reminisce certain historic events in the
history of such communities. Beyond festivities and merriments, cultural festivals are
traditional means of building a wealth of knowledge about the past of a Yoruba
community and of reconstructing any aspect of that history.1 A festival is a complex
social phenomenon. It spans a period of time during which individuals and groups are
involved in diverse activities in a variety of places. One cannot see the whole of a festival
or know what is happening in the lives of persons at any given moment or even
throughout the festival.2 Although the Osun festival is not the only traditional festival in
Osogbo, it is the most famous and glamorous in Osogboland. The festival is very popular
not only among the people of Yorubaland of the southwestern part of Nigeria but it is
widely known the world over particularly among the Yoruba in Diaspora. It is one of the
cultural festivals in Nigeria that is well documented and has contributed immensely to the
classification of Osun grove as a global cultural heritage by UNESCO.

The Yoruba people of southwestern Nigeria have a very rich culture of festivals and
rituals which represent one of the major ways through which important aspects of their
cultures and histories are preserved and transmitted. Some of these prominent festivals
are Osun festival in Osogbo, Olojo festival in Ile-Ife, Sango festival in Ede, Okebadan
festival in Ibadan, Ogun festival in Ondo and a host of others in different parts of
Yorubaland. These festivals have cultural, religious and historical significance for the
Yoruba people and are held in high esteem. A festival that is also celebrated yearly in
honour of a woman and serving as a re-enactment of mystic pledge is the Osun festival
among the people of Osogbo in Osun State, southwestern Nigeria. Although the Osun
festival is not the only traditional festival in Osogbo, it is the most famous and glamorous
in Osogboland. The festival is very popular not only among the people of Yorubaland of
the southwestern part of Nigeria but it is widely known the world over particularly among
the Yoruba in Diaspora. It is one of the cultural festivals in Nigeria that is well
documented and has contributed immensely to the classification of Osun grove as a
global cultural heritage by the UNESCO.3 Indeed, the Osun festival has earned Osogbo
the status of a cultural capital of Yorubaland following IleIfe as the spiritual headquarters
and cradle of Yorubaland.4

Osun Goddess in Yoruba Mythology and the Origin of Osun Osogbo Festival
In the Yoruba mythology, Osun, the goddess of the Osun River is believed to be a very
powerful woman and the only female of the sixteen major Yoruba deities (Orisa).5 Her
full appellation is Osun Seegesi Olooya Iyun which means ‘Osun the owner of the
flawless, perfectly carved beaded comb’.6 In their attempt to give the etymology of the
word ‘Osun’, Joseph Murphy and Mei-Mei San explain that Osun is coined from ‘Orisun’
meaning ‘source’ and therefore, it may mean source of a river, a people, or children.7
Among other things, Osun is regarded, among the Yoruba, as the goddess of wealth and
beauty, an herbalist or healer, a diviner, a dyer, a giver of children, a goddess of fertility,
protection and blessing, and a leader of women.8 During her lifetime, she was said to be
the youngest and the favourite wife of the three wives of Sango, the famous 17th century
Alaafin of Old Oyo.

The other two wives were Oya and Oba. She was said to have turned into a river after her
husband hanged himself along with her two mates - Oba and Oya who became the
goddesses of Rivers Oba in Osun State and Oya (River Niger) in the Middle Belt of
Nigeria respectively. It is believed that the original source of the river is Igede Ekiti9 in
Ekiti State of southwestern Nigeria but the main shrine of this powerful river goddess is
located in Yoruba town of Osogbo,10 also in southwestern Nigeria. The origin of the
Osun Osogbo festival is traced to the prominent role played by the Osun goddess in the
founding and settlement of Osogbo. The various versions of the traditions of origin of
Osogbo agree that the ancestors of Osogbo led by Lajomo, Olarooye and Olutimehin
migrated from Ipole Omu in Ijesaland due to water scarcity and settled on the flood bank
of the Osun River.11

These ancestors of Osogbo were grandsons of Ajibogun, a direct son of Oduduwa, the
eponymous father of the Yoruba, who founded Ibokun.12 In their bid to clear the bush
around their new settlement, a tree fell on the river and the water surface turned blue
immediately. To the astonishment of the people, a voice came from the river saying:
“Laro, Timehin, gbogbo ikoko aro mi le ti fo tan” meaning “Laro, Timehin, you have
broken all my indigo dye pots”. Afterwards, settlers heard the voices of some water
spirits commiserating with the goddess in these words: “Oso Igbo pele o, Oso Igbo rora
o” meaning “Wizard of the forest, sorry and take it easy”.13 The name Osogbo is derived
from the word ‘Oso Igbo’ i.e. ‘Wizard of the forest’ which referred to the goddess
herself.14 In a related tradition, it is held that term ‘Oso Igbo’ was actually used by the
goddess to refer to Laro and Timehin when the tree fell on the river and she exclaimed:
“Ta lo fo ikoko aro mi o? Eyin Oso Igbo e tun de o” meaning “Who broke my indigo dye
pots? You wizards of the forest are here again”.15 Whatever the case is, it is agreed in all
versions of Osogbo traditions of origin that the name originated from ‘Oso Igbo’. The
Osogbo traditions continue that after this incident, the ancestors of Osogbo offered a
special sacrifice to the goddess in order to placate and appease her for their misdeed. The
goddess was said to have accepted the sacrifice by sending a god-fish named ‘Iko’ i.e.
‘representative’ to the people which was received by Olarooye, the first king of Osogbo
on his palms.16 This event earned him the title ‘Atewogbeja’ which means ‘One who
receives god-fish on his palms’ which is the traditional title of the natural ruler of Osogbo
since then.17 After the offering and acceptance of the sacrifice, the goddess was said to
have reappeared to the people and gave them instructions that they must continue to offer
the sacrifice to her every year while she would continue to support and protect the
settlement. She also gave certain instructions as to how the annual sacrifices to her should
be made and promised that her ‘Iko’ i.e. messenger/representative would be sent every
year to pour curative water into the calabash held by the reigning Ataoja for cure of any
form of ailment.

The mutual consent to this agreement between the goddess and the ancestors of Osogbo
marked the origin of the annual Osun Osogbo festival which has grown to become one of
the most famous cultural festivals in the world.18 In order to show her readiness to fulfil
her own part of the agreement, the goddess was said to have ordered the settlers to move
to the upper terrace of the river called ‘Oke Ohuntoto’ and settle there to avoid the
incessant floods of their settlement and ensure its rapid growth and development.19 The
people heeded this advice and moved to the upper terrace of the river where they built a
palace for their king and established a market. From then, the town began to grow from
strength to strength and the people attribute this to the influence of the worship of the
goddess through the annual Osun Osogbo festival. Thus, the people of Osogbo celebrate
the Osun festival annually to commemorate and renew the pact between Osun goddess
and the ancestors of Osogbo.20

Osun Osogbo Festival: Re-enacting Osogbo’s Early History

There are three major categories of activities making the celebration of the annual Osun
festival. These are the sacred rituals, the secular ritual drama and the numerous public
entertainment activities. It must be emphasized that, among the Yoruba, rituals (etutu) are
very popular and are performed to propitiate their deities, ancestors or spirits during
special occasions or hard times.21

All Yoruba traditional festivals have one form of rituals or the other. Our analysis of the
historical content of the Osun festival celebration would be limited to the sacred rituals
and secular ritual drama of the festival which have remained intact since the inception of
the festival in spite of the influence of modernisation. We would also show that the
influence of modernisation on the Osun festival celebration has been felt only in the area
of public entertainment activities and has not in any way affected the rituals. The Osun
sacred rituals are those activities which are conducted in seclusion by the Ataoja and the
Osun priests and priestesses and which reaffirm the sacred bond and re-open the pathway
between the goddess and the people of Osogbo.22 On the other hand, the secular ritual
drama refers to those ritual activities which are witnessed by the general public during the
celebration of Osun festival.23 It must be stated that both the sacred and secular rituals of
the annual Osun Osogbo festival at different places within the palace of the Ataoja and
the Osun grove at the outskirt of the town.

These sacred and secular rituals associated with the annual celebration of Osun festival
are reenactments of some historical events associated with the founding and early history
of Osogbo as shown in this paper. The Osun sacred rituals are those activities which are
conducted in seclusion by the Ataoja and the Osun priests and priestesses and which
reaffirm the sacred bond and re-open the pathway between the goddess and the people of
Osogbo. 22 The annual Osun Osogbo festival is a two-week long celebration spanning
sixteen days of rituals, drama and festivities.24 The various parts of the festival are led by
the Ataoja, the traditional ruler of Osogbo, the Iya Osun (Osun Priestess), the Aworo
Osun (Osun Priest) and other Osun devotees. The first public event of the Osun festival is
the Iwo Popo i.e. traditional clearing of the major Osogbo main road which on Monday,
twelve days prior to the grand finale of the festival.25 On this day, the Ataoja,
accompanied by his wives, chiefs, Osun priestess and other devotees, proceed from his
palace to Gbaemu at the centre of the town. At the designated point in Gbaemu, the
Ataoja would sit down with his full paraphernalia of office and accept communal gifts
from his subjects. Several categories of people such as traditional chiefs, local rulers,
family heads, members of traditional societies, men, women and children come to pay
homage to the Ataoja while he showers royal blessing on them. The Ogala of Osogbo has
the responsibility of the traditional clearing of the roads and the provision of security
during this exercise.26 After this traditional pathclearing rite at Gbaemu, the Ataoja
returns to the palace amidst pomp and pageantry. This event symbolises the traditional
clearing of the town’s main road of weeds and over-grown shrubs that might hamper the
easy influx of visitors to Osogbo and indicates that traditional security has been provided
in the town.27 With this event, the annual Osun festival has officially commenced. The
history embedded in this symbolic pathclearing (Iwo Popo) is reminiscing one of the
major events associated with the founding of Osogbo.

This was when the ancestors of Osogbo were faced with perennial water scarcity in Ipole
and they commissioned Olutimehin, a skillful hunter, to look for possible source of water
for the people to settle. When Olutimehin, Ogidan and other prominent hunters
discovered the bank of Osun River, they were the people who cleared the path leading to
the place for their people to settle before their encounter with the goddess of the river.
Thus, the traditional path clearing kick-starting the annual Osun festival is likened to the
path clearing carried out by Olutimehin and other hunters at the inception of the
settlement of Ipole migrants in Osogbo.28 It must be emphasised that path-clearing
applies to most traditional activities associated with the annual celebration of Osun
festival as would be seen later in this paper and it is traced to the historic path clearing by
Olutimehin, the great hunter-ancestor of Osogbo.

The lighting of the sixteen-point lamp known as Atupa Olojumerindinlogun (the sixteen-
point lamp) is another major event of the Osun festival.29 It comes up nine days to the
grand finale of the festival and the venue is the Ataoja’s palace courtyard. The
Olojumerindinlogun lamp is a brass column that holds sixteen tray-like receptacles on
which cotton and palm oil are placed.30 In his analysis of the Yoruba cosmic origin of
this sixteen-point lamp, Professor Wande Abimbola has argued that the sixteen lamps
represent the sixteen major Orisa who organised the world, the sixteen major Odu Ifa and
the sixteen palm nuts used in Ifa divination.31 The lamps are lighted at about 7.00 p.m.
on Thursday and kept burning till day break on Friday-a week to the grand finale of the
Osun festival. On this day, the Ataoja, his wives and attendants, the Osun priestess and
other Osun devotees dance round the lighted Lamp three times at three intervals of
prayers and invocations inside the Osun shrine at the Ataoja’s palace.32 The Ataoja,
accompanied by his relatives and traditional chiefs, is also expected to dance round the
market square before he finally returns to the palace. Other events of the day include
singing, dancing, drumming and spiritual invocations.33 Significantly, the origin of the
Olojumerindinlogun lamp and its association with the Osun festival celebration is rooted
in Osogbo traditions. According to Osogbo traditions, after the settlement of Osogbo
ancestors at Oke Ohuntoto following their relocation from the bank of the Osun River,
Olutimehin, the hunter and co-founder of Osogbo seized a sixteen-points lamp (Atupa
Olojumerindinlogun) from some spirits dancing round it during one of his hunting
expeditions.34 The tradition continues that when the goddess heard of this incident, she
instructed Olarooye and Olutimehin that the seized lamp must be celebrated the way the
spirits were doing when Olutimehin seized it from them anytime Osun festival is nine
days to come.35

This was the origin of the lighting of the historic sixteen-point lamp during the annual
celebration of Osun festival. Badejo captures the major historical events reenacted during
the lighting of the sixteen-point lamp in these words: The myth and history of Osogbo are
dramatically reenacted throughout the lighting of the sixteen lamps. Hunters prepare a
path for the Ataoja and Iya Osun from their homes to the courtyard. The hunters fire their
rifles into the air announcing their entrance while musicians lead the Ataoja, then Iya
Osun, dancing towards the sixteen lamps. This action reflects Olutimihin’s leading of
Larooye, the first Ataoja, to the River Osun. Like the people of Ipole, who rejoiced at the
founding of this river, the contemporary Osogbo people rejoice with drumming, song,
dance, and cheers as the Ataoja approaches the Olojumerindinlogun. 36 These historical
events are reenacted every year during the Osun festival and therefore, serve as a means
of preserving and transmitting the history of Osogbo from generations to generation.37
Between the day of the lighting of the Olojumerindinlogun lamp and the day of the grand
finale of the festival, there are some traditional events carried out by the Ataoja and the
Osun devotees. Prominent among these are the days earmarked for sacrifice for all the
past Ataoja and their Crowns (Ojo Ibori and Iboade), sacrifice for the past Ataojas’ wives
(Ojo Ayaba Isale), sacrifice for the House/Palace of the past Ataoja (Ojo Ogboni) and the
special day on which the Ataoja feasts all his chiefs, family members and the general
public and gives alms to the poor in the society.38 All these are some of the traditional
events associated with the annual celebration of the Osun festival prior to the day of the
grand finale. It is important to stress that the climax of the annual Osun Osogbo festival is
the sacred rituals and secular ritual drama that take place at the Osun grove at the outskirt
of Osogbo on the day of the grand finale of the festival where the Ataoja, the Iya Osun,
the Votary Maid (Arugba Osun) and other Osun devotees offer sacrifice to the goddess.
On this day, after the early morning rituals and prayers at the Osun shrine at the Ataoja’s
palace, the Arugba leads the procession of all Osun devotees to the grove amidst pomp
and pageantry.39

The Arugba carries the symbolic calabash containing the sacrificial items for the
sacrifice. This calabash is believed to have been handed to the ancestors of Osogbo by
Osun goddess who instructed that a royal virgin lady must carry it to the grove on the day
of the festival.40 The Arugba is carefully guarded on her way to and from the grove by
the Olose (i.e. Whip Boys) because she must not hit her foot on a stump or stone as this
would be a bad signal for the people. Therefore, the success of the festival is dependent
greatly on the hitch-free walk of the Arugba from the palace to the grove. It must be
mentioned that the sacred rituals of Osun festival which reaffirm the sacred bond and
renew the pathway between the goddess and the people of Osogbo are conducted in
seclusion by the Ataoja and the Osun priests and priestesses inside the sanctuary at the
Osun grove.41 However, after the sacred rituals have been carried out at the inner
sanctum of the grove by the initiates (Ataoja, Osun priestess and other priests), 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 witnessing the festival. Upon receiving
the sacrifice from the Osun priestess and Osun priest, the Ataoja sits on the stone of
authority in a special location at the grove, communes with his ancestors and feeds the
goddess with the sacrificial items.42

Significantly, this act is a reenactment of the events of the early history of Osogbo. First,
the stone on which the incumbent Ataoja sits is the same stone which Olarooye, the first
Ataoja, sat on when he was to offer the first sacrifice to the goddess during the settlement
of Osogbo. Also, in the same way that Olarooye communed with Osun goddess before
and after offering the initial sacrifice to the goddess, the incumbent Ataoja communes
with the goddess and seeks his continued support and protection in the coming year.
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’.43 The feeding of the goddess by the Ataoja marks the end of the
rituals of Osun festival and this confirms that the waters of the river are blessed. Thus,
people begin to shout ‘Ore Yeye Osun’ meaning ‘We adore you Osun the Great Mother’.
People also begin to drink water from the river, draw water from the river into all sorts of
containers while some wash their faces in it. The belief of the people is that the blessed
waters of the river immediately after the sacrifice have curative powers for all diseases
such as barrenness, infertility, chronic headache and other forms of ailments.44 What
followed after is the return of the Ataoja and other people to the palace where singing,
drumming and other forms of entertainment continue. The whole Osogbo town is thrown
into festive mood afterwards. One of the important aspects of the celebration of Osun
festival is the singing of Osun praise poems (Oriki Osun) and festival songs (Orin Odun)
which have a lot of historical contents.

Among the Yoruba, poems and songs are very important and there is no occasion in
Yoruba life that is not accompanied by traditional songs of lyrical beauty.45 As a matter
of fact, music for the Yoruba represents a mirror through which their culture in its totality
can be understood as they are not only used to preserve and transmit their history but also
used to invoke the spirits of their different Orisa.46 At different times and places during
the two week period of Osun celebration, Osun worshippers and devotees sing the praise
and invoke the spirit of Osun goddess. As indicated earlier, Osun praise poems and songs
have a lot of historical content pointing to the place of Osun goddess in Yoruba cosmic
mythology and in the history of Osogbo. One of such poems that point to Osun’s
importance in Osogbo’s history is excerpted below: 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. Meaning: 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.47 The poem above
contains some verses which show her historic contributions to the founding, growth and
development of Osogbo.

First, Osun as the ‘Great Mother’ (Yeye) in the poem denotes the ability of the goddess to
heal all forms of human diseases particularly those that affect mothers and children. It
also connotes her ability to give children to barren women and infertile men.48 In fact, in
Osogbo traditions, it is said that the goddess helped Olarooye, the first Ataoja, whose
wife had problem of conception of a child, to have children after drinking from the water
of the river.49 This was the origin of the belief that the goddess had power of curing
barrenness and infertility and women looking for children use to throng to the grove
during the celebration of the festival. Also, the clause that “it is Osun who helps the Oba
rule Osogbo” in the poem signifies the motherly role played by the goddess in the
settlement and growth of Osogbo. It is believed by the people of Osogbo that Osun
goddess graciously allowed their ancestors to settle on her land and continued to give
protection and security to the town since then. It is further said that the fact that Osogbo
had never been defeated or conquered during a war is due to the influence of the
continued support and protection of the goddess. The people of Osogbo even hold that
the goddess, in fulfilment of her promise to continue to protect Osogbo from invaders,
participated actively in the famous battle of Osogbo between Ibadan warriors and Fulani
Jihadists by disguising as a food vendor who sold poisoned bean cake to the Jihadists
leading to their incapacitation.

Socio-Cultural Significance of Osun Festival for Yoruba People of Osogbo

Osun goddess is everything to the people of Osogbo. She is the real founder, mother,
protector, guard and the nurturer of the town.51 This is not unconnected with the role the
goddess was said to have played during the settlement of the town. Therefore, the Ataoja
celebrates the Osun festival in remembrance of his ancestors and in fulfillment of the
covenant between the goddess and his ancestors. The Yoruba proverb that says “Odo kii
san ko gbagbe orisun” meaning “A river does not flow so far that it forgets its source”
captures the essence of the importance of Osun festival to the people of Osogbo in this
regard. More importantly, the secular rituals of the Osun festival are a re-enactment of the
events of the founding and settlement of Osogbo. For instance, the lighting of the sixteen-
point lamp and the events associated with it are reminiscent of the historical events
leading to the founding of Osogbo. During the lighting event, the hunters who prepare the
path for the Ataoja and the Iya Osun from their homes to the courtyard are reminders of
Olutimehin, the great hunter and co-founder of Osogbo who cleared the path for
Olarooye and the settlers who first settled at the flood plain of Osun River. Similarly, the
acts of the hunters firing their rifles into the air announcing their entrance while the
Ataoja and the Iya Osun are led towards the sixteen-point lamp by the drummers reflect
Olutimehin’s leading of Olarooye, the first Ataoja to the Osun River.

Also, the excitement expressed by the people of Osogbo during the lighting of the
sixteen-point lamp, is likened to the excitement of the Ipole migrants when they first
discovered and settled on the flood plain of the river.52 Furthermore, the history of
Osogbo is also reenacted at the Osun grove when the Ataoja sits on the historic rock at
the bank of the river, feeds the goddess with the sacrificial items and receives sanctified
waters of the river as was done by his ancestor, Olarooye, which earned him the title of
Atewogbeja or Ataoja.53 In sum, the Osun festival celebration is an embodiment of
historical legacies of the people of Osogbo. The Ataoja and the people of Osogbo attach a
great importance to the Osun festival because it enables them to invoke the spirits of the
goddess to continue giving divine protection to the town. It is believed by the people that
the goddess has played a prominent role in the protection and security of the town right
from its inception. The fact that the Fulani Jihadists were defeated by the Ibadan warriors
at the battle of Osogbo in 1838 is attributed to the security of the town offered by the
Osun goddess. In fact, the people of Osogbo believe that it was the Osun goddess who
mysteriously defeated the Fulani warriors by giving them poisoned food which led to
their death. Although this myth is not acceptable to the historian, the fact remains that the
Fulani incursion into Yorubaland was halted at Osogbo in 1838/1840.54 The emergence
of Osogbo as a safe haven for refugees of wars during the 19th century Yoruba interstate
wars which earned the town the name “Ilu Asala” meaning “Town of Safety” was also
attributed to the divine protection and security provided by the goddess. It was the warm
reception the Ataoja gave to the Oyo refugees during the wars that led to the influx of
these refugees to Osogbo leading gradually to the Oyo dominance over the Ijesa
aborigines of Osogbo.55

Consequently, Osogbo is today considered an Oyo town whereas it was originally an

Ijesa settlement. Also, the traditions of Osogbo relate that the town had never been
invaded and conquered since its establishment and this is credited to the power of the
goddess. Because of all these great feats achieved for Osogbo by the goddess, the people
and their monarch show appreciation to the goddess through the annual Osun festival.
The Osun festival is a veritable avenue for the Ataoja and the Osogbo people to showcase
the rich cultural heritage and endowments of the town. During the annual festival, people
come from various parts of the world to witness the worship of Osogbo goddess. The
Osun festival has made Osogbo to become a major centre of tourist attraction in Nigeria
and it is visited by tourists from the United States, Great Britain, France and the Latin
American and Caribbean states like Brazil, Cuba, Jamaica, Haiti, Trinidad and Tobago
and a host of others.56

The case of Susan Wenger, an Austrian woman popularly known as Adunni Olorisha
who has made Osogbo her permanent abode and established several places of tourist
attraction at the Osun grove deserves mention here.57 Indeed, the Osun grove in Osogbo
has been listed as one of the world heritage sites by the United Nations Educational,
Scientific and Cultural Organization (UNESCO).58 Also, the Federal Ministry of Culture
and the National Commission for Museums and Monuments have established a National
Museum in Osogbo for preserving and promoting Yoruba cultural heritage through the
Osun Osogbo festival. Osun festival has become an international event and recognition of
Osogbo as a major centre of Yoruba cultural heritage is not unconnected with the Osun
festival.59 In addition, the celebration of the annual Osun Osogbo festival also has
economic value for the people of Osogbo. During the festival, the town plays host to a
huge number of visitors and tourists and this has a great impact on the economic
activities in the town as traders, hoteliers, transporters and other businessmen experience
a boost in their respective ventures. Not only this, the sponsorship of the annual Osun
festival is now being undertaken by Corporate Bodies and Business Organizations like
Coca Cola Bottling Company, MTN, Global Bank and a host of others. The annual Osun
festival celebration is now a responsibility of the Ataoja of Osogbo in conjunction with
the Osun State Government. In sum, the Osun festival has historical, political, economic
and cultural significance to the Ataoja and the entire people of Osogbo. Osun Osogbo
festival has remained, in spite of the influence of Christianity and Islam, the most
important traditional festival in Osogbo and arguably one of the most important in
Yorubaland and among the Yoruba Diaspora.60 Due to this, the Ataoja of Osogbo,
irrespective of religious affiliation, leads the annual celebration of Osun festival, not only
as the birthday of the town but also in renewing the pact between him and his ancestors.
In addition, the celebration of the annual Osun Osogbo festival also has economic value
for the people of Osogbo. During the festival, the town plays host to a huge number of
visitors and tourists and this has a great impact on the economic activities in the town as
traders, hoteliers, transporters and other businessmen experience a boost in their
respective ventures.

Osun Osogbo Festival and Osun Sacred Grove: Aspects of Local and Global
Recognitions
In spite of the disruptive influences of modernisation and foreign religions, the Osun
Osogbo festival and the Osun Sacred Grove in Osogbo are today one of the few surviving
sacred groves in Nigeria.

The Osun festival has assumed a dimension in contemporary time that its celebration
today is coordinated by the Government of Osun State. It has become one of the cardinal
aspects of tourism drive and promotion of the present government led by Mr. Rauf
Aregbesola. The government aims at creating a worldclass tourist resort as the state is the
foremost repository of Yoruba customs and traditions. Aware of the fact that Yoruba in
the Diaspora are highly conscious of their roots and heritage, Osun State Government
have marked Osun Osogbo festival and Olojo festival in Ile-Ife for global promotion and
recognitions in the nearest future.61 To this end, several activities have been incorporated
into the modern conduct of the Osun festival to add glamour to its celebrations. The
planning of the festival in the contemporary time involves elaborate committees of
experts in various fields who ensure that all aspects of the festival such as publicity and
promotion; marketing, finance and administration; workshops and seminars; security,
competitions and contests; reception and accommodation and so on are successful.62 One
of the major activities of the Osun festival celebration today is the festival business
exposition where some of the Yoruba cultural items are exhibited at the palace of the
Ataoja and Osun grove. The cultural expo during the Osun festival also affords the
visitors the opportunity of buying some traditional Yoruba cultural items like clothes of
various types, beads, caps, shoes and so on in their original forms. In addition, contests
and competitions in various activities have also been incorporated into the activities lined
up for the celebration of Osun festival.

There is what is called the Isese Contest where students or experts in Ifa Recitation (Odu
Ifa) compete for a prize. Also, there is Ayo Olopon contest where people who are versed
in the game compete for a prize. Ayo Olopon game is one of the prominent traditional
Yoruba games usually engaged in by youths and adults alike during leisure times.
Interestingly, there is the Omidan Osun (Miss Osun) Beauty Pageant and fashion shows
where ladies compete for the most beautiful girl dressed in Yoruba traditional attires.
Other activities usually lined up for Osun festival celebration in contemporary time
include film shows, theatre stage performance, Egungun (masquerade) display and
traditional Yoruba musical concerts featuring famous, highly placed and talented
musicians such as Apala, Sewele, Bata, Juju, and Fuji super stars. All these activities add
both traditional and modern flavour to the annual celebration of the festival. An important
aspect of the contemporary nature of the celebration of the Osun festival is the
organization of several key workshops, seminars and symposia on cultural appreciation,
rejuvenation, investment and tourism potentials of Osun grove and its subsidiaries as well
as other places of cultural importance in Osogbo. During these activities, speakers are
drawn from such bodies as the Federal and State Ministries of Culture and Tourism,
Centre for Black and African Culture and Civilisation (CBAAC), United Nations
Educational, Scientific and Cultural Organisation (UNESCO), Osogbo Cultural Heritage
Council and a host of others. Even on the day of the grand finale of the festival at the
Osun grove, it is usual that the Ataoja of Osogbo, the governor of Osun State, the
Minister of Culture, Tourism and National Orientation and other distinguished guests
from relevant bodies give their remarks and goodwill messages to the people of Osogbo
and the general public that witness the festival. All these are modern innovations to the
celebration of the festival. They add colour to the grandeur of the celebration of the
festival. It is important to stress that they do not in any way affect the sacred and secular
rituals of the festival which are fixed in nature and not subject to alteration or innovation.
It is in these fixed and religiously guided rituals that the early history of the people of
Osogbo are carefully preserved and reenacted annually during the celebration of the
festival.

Osun Grove as a National Monument Site and UNESCO World Heritage Site
The grove is of historical significance as it is the origin of Osogbo where the early
founders of Osogbo – Oba Gbadewoolu Larooye and his great elephant hunter friend –
Olutimehin first settled after their migration from Ipole Omu in about 1670 A.D. The
grove means different things to numerous and diverse people and even animals that had
contact with it. For example, to the indigenes of Osogbo, the grove is the symbol of the
development of Osogbo society from its pre-historic beginning to the present. Thus, the
grove is like a matrix from which Osogbo incubated, giving birth to the child in the form
of Osogbo Society. In a nutshell, the roots of Osogbo town lay deep in the grove which
harbours various landmarks and features, in the form of shrines, temples, rocks, market,
trees, animals and so on.

The Osun River itself is of great importance to the people. All these are still very much
active in the spiritual and physical well beings of the Osogbo people.63 Each of these
above mentioned landmarks has its significance in the life and history of Osogbo society.
For example, the most important is the sacred stone stool on which the first King, Oba
Larooye sat to rule within the first palace in the grove. This is followed by the shrine of
Osun where the Yeye Osun can consult the deity. And at the place of the second Ataoja
palace lies now the Ogboni House that involves the traditional worship of earth divinity
(Onile). This is where members of the Ogboni Secret Society meet. These two sacred
places are believed to constitute the spiritual and power base of the political authority of
the Ataoja. The grove can also be taken as a school where priests and priestesses as well
as devotees are taught and initiated into their religious callings. Membership into the
various cults such as the Ogboni, herbal medicine and the art of divination, through Ifa
oracle system are initiated in the grove.

Thus the grove is a place of weekly worship (in fact, every 5 days) where devotees come
individually to renew themselves, offer presents, redeem their pledges or consult Osun
goddess and other deities. To some other people, the Osun Osogbo Sacred grove is a
giant natural pharmacy which houses more than 200 species of plants that have medicinal
values. It is today a symbol of identity for the whole Yoruba Community and those who
are adepts of the Ifa divination system not only in Nigeria but in West Africa and in the
African Diaspora related to the slave trade in Brazil and in the Antilles (Cuba, Puerto
Rico, Trinidad and Tobago and the Afro Americans in American.64 All the living
contents in the grove and river are regarded as the totemic children of the Osun goddess
therefore fishing, poaching, hunting, felling of trees and other negative activities are
regarded as sacrilegious and forbidden by customary laws and religious sanctions in the
grove. Quite importantly, the Osun Osogbo Sacred Grove was declared as National
Monuments in 1965 and placed under its custody by Decree 77 of 1979. The Grove
therefore came under the watchful eyes of the National Commission for Museums and
Monuments (NCMM). On July 15, 2005 in Durban, South Africa, the Grove became
inscribed as the Second World Heritage Site in Nigeria and the first of its kind in South-
Western geo-political region of Nigeria by UNESCO.65

Here, the Grove has remained a clear evidence of the origin of Osogboland which has
retained all the characteristics and landmarks of successive occupation of the olden days.
It is a sanctuary where people consult and communicate with their deities. In fact,
activities within the Grove attest to the belief that it has remained clear evidence to the
traditional wisdom of man where equilibrium between man and nature has been
established.66 The above is to say that the Grove and the city of Osogbo are now
complementary of each other wherein all the past activities and values of Yoruba
traditional religious have been elevated from local to international level. Osun Osogbo
grove is directly and tangibly associated with events or living traditions, ideas and
beliefs. The truism of this is seen in the numerous artistic works, oral history, information
and documentary that are of outstanding universal significance that came out from
Osogbo. For example, the annual Osun Osogbo festival is directly and tangibly linked
with the grove. The festival brings the Osogbo people and their Yoruba kin and kith into
spiritual Osun Osogbo Sacred Grove was declared as National Monuments in 1965 and
placed under its custody by Decree 77 of 1979. The Grove therefore came under the
watchful eyes of the National Commission for Museums and Monuments (NCMM). On
July 15, 2005 in Durban, South Africa, the Grove became inscribed as the Second World
Heritage Site in Nigeria and the first of its kind in South-Western geo-political region of
Nigeria by UNESCO. 65

By law, the Federal and State Government are the legal owners of all declared sites and
monuments in Nigeria while the communities only exercise cultural rights. However, the
Osun Osogbo Sacred Grove has a legal status since the day it was declared as a National
Monument in the year 1965 and a further extension of this declaration was made in 1992.
The management of the Osun Osogbo Sacred Grove as carried out by three separate
Agencies. These are: The Federal Government of Nigeria that is represented by the
National Commission for Museums and Monuments at the national level; Osun State
Government at the state level; National Commission for Museums and Monuments,
Osogbo, The Oba of Osogbo (Ataoja in Council) and other Osun Chieftains, The Osogbo
Local Government, The Olorunda Local Government, Non-Governmental Organisations
such as Osogbo Cultural Heritage Council (OCHC), Osun Grove Support Group
(OGSG), the Ogboni Sacred Society and Adunni Olorisa Trust (AOT) and a host of
others.

Conclusion
This paper has accounted for the origin of Osun Osogbo festival, the highlights of its
celebration and its significance for the people of Osogbo. More importantly, it has been
shown that Osun festival, to the people of Osogbo is beyond a cultural festival but it is
everything to them: their past, present and their future. This is because they see the
festival as embodiment of their history and culture and thence their life. Beyond Osogbo
and its people, the Osun festival has gained wider relevance, importance and recognitions
and it has become not only one of the most popular cultural festivals in Nigeria but also
one of the few Nigeria’s festivals and groves to attain the status of UNESCO’s world
heritage site.

The paper also shows that the present government of Osun State has adopted Osun
festival and Osun sacred grove as part of the major cultural items to be promoted for
global tourist attractions. It is concluded in this paper that the future of Osun festival and
it sacred grove appears to be more promising than its glorious past and present if the
present tempo of commitment to its promotion is sustained.

Notes and References

1 See R. Hackett, ‘Art & Religion in Africa: Some Observations and Reflections’,
Journal of Religion in Africa (24) (1994) p.294 and M. Herbert, ‘The Art of Festival in
Ghana’, African Arts 8(3) (1975), p.12

2 J. Pemberton & F. Afolayan (eds.), Yoruba Sacred Kingship: A Power like That of the
Gods (Washington, London: Smithsonian Institution Press, 1996), p.99

3 Tourism Development in Osun State (A Publication of the Osun State Ministry of

Tourism & Culture, 2008)

4 See S.O. Arifalo and Olukoya Ogen, The Yoruba in History up to 1987 (Lagos: First
Academic Publishers, 2003), pp.2-3

5 Badejo, Diedre, Osun Seegesi: The Elegant Deity of Wealth, Power and Femininity
(Trenton, N.J: Africa World Press, 1996), p.2

6 Ibid.

7 Joseph M. Murphy and Mei-Mei San, “Introduction” in Joseph M. Murphy and Mei-
Mei Sanford, (eds.), Osun Across the Waters: A Yoruba Goddess in Africa and the
Americas (Bloomington, Indiana: Indiana University Press, 2001), p.2

8 Ibid.

9 Afolabi, Kayode, Osun in Colours: Pictorial History of the River Goddess, Osun
(Charleston, South Carolina: BookSurge LCC, 2006), pp.135-136

10 Owomoyela, Oyekan, “Introduction” in Badejo, Diedre, Osun Seegesi, p.xxiii

11 See, for instance: Falade, S.A., The Comprehensive History of Osogbo (Ibadan: Tunji
Owolabi Commercial Press, 2000), p.68; Awe, Bolanle and Albert, Olawale, “Historical
Development of Osogbo” in Adepegba, C.O. (ed.), Osogbo: Model of Growing African
Towns (Ibadan: Institute of African Studies, University of Ibadan, 1995); Farotimi, D.O.,
Osun Festival in the History of Osogbo (Lagos: Facelift Concept, 1990); Osogbo Cultural
Heritage Council, History of Osogbo (Osogbo: Igbalaye Press Ltd., 2007).

12 Ibid.
13 Awe, Bolanle and Albert Olawale, “Historical Development of Osogbo”, p.3

14 Ibid. See also Osogbo Cultural Heritage Council, History of Osogbo, p.14

15 Awe, Bolanle and Albert, Olawale, “Historical Development of Osogbo”, p.3

16 Ibid.

17 Ibid.

18 Oparanti, G.O., “The Origin of Osun Festival” Osun Osogbo 2004 Official Magazine
(Osogbo: Office of the Ataoja of Osogbo and Osun State Government, 2004), p.10

19 Ibid.

20 Joseph M. Murphy and Mei-Mei Sanford, “Introduction” in Joseph M. Murphy and

Mei-Mei Sanford, (eds.), Osun Across the Waters, p.3

21 Drewal, Margaret Thompson, Yoruba Rituals: Performers, Play, Agency

(Bloomington, Indianapolis: Indiana University Press, 1992), p.19

22 Badejo, Diedre, Osun Seegesi, pp.106-107. See also Joseph M. Murphy and MeiMei
Sanford, “Introduction” in Joseph M. Murphy and Mei-Mei Sanford, (eds.), Osun Across
the Waters, p.3

23 Badejo, Diedre, Osun Seegesi, p.107 24 Ibid., p.103 25 Falade, S.A., The
Comprehensive History of Osogbo (Ibadan: Tunji Owolabi Commercial Press, 2000),
pp.176-177

26 See Osogbo Cultural Heritage Council, Osun Osogbo Festival 1987 Official Magazine
(Osogbo: Osogbo Cultural Heritage Council, 1987), p.3

27 Ibid.

28 Ibid.

29 Badejo, Diedre, Osun Seegesi, pp. 109-114

30 Ibid., p.110

31 Wande Abimbola, Ifa Divination Poetry (New York: Nok Publishers, 1977).

32 Badejo, Diedre, Osun Seegesi, pp.109-114

33 Ibid.
34 Oparanti, G.O., “The Origin of Osun Osogbo Festival” Osun Osogbo Festival 2004
Official Magazine (Osogbo: Office of the Ataoja of Osogbo and Osun State Government,
2004), pp.10-11

35 Ibid.

36 Badejo, Diedre, Osun Seegesi, pp. 111-114

37 It has been identified by Falola that one important thing about oral traditions
particularly rituals, songs and poems is that the process of preserving and transmitting
them go hand in hand. See Toyin Falola, “Trends in Nigerian Historiography”
TransAfrican Journal of History, Vol. No. 1 and 2, (1981). As for Osun festival and its
rituals, the people in charge are trained and experienced specialists comprising old and
young who religiously guide the events of the festival to ensure that no detail is lost.

38 See Osogbo Cultural Heritage Council, Osun Osogbo Festival 1987 Official
Magazine, p.3

39 Olufemi Osunmakinde, “Osun Osogbo Festival: Votary Maid (Arugba Osun) as an

Attraction” Osun Osogbo Festival 2004 Official Magazine (Osogbo: Office of the Ataoja
of Osogbo and Osun State Government, 2004), pp.26-27

40 Oparanti, G.O., “The Origin of Osun Festival”, p.10

41 Badejo, Diedre, Osun Seegesi, pp. 120-122 42 Ibid., p.121 43 Awe, Bolanle and
Olawale, Albert, “Historical Development of Osogbo”, p.2 44 Badejo, Diedre, Osun
Seegesi, p.121

45 Beier, H.V., “Yoruba Vocal Music” African Music, Vol. 1, No. 1, (1956), p.23

46 Omojola, B., “Kiriboto Music in Yoruba Culture” Journal of International Committee

on Anthropological and Ethnographical Research (1992).

47 Badejo, Diedre, Osun Seegesi, pp.22-23 48 Ibid., p.121

49 For details on the relationship between Osun goddess and the Ataoja Institution, see
Afolabi Kayode, Osun Osogbo: Sacred Places and Sacred People (Charleston, South
Carolina: BookSurge LLC, 2006). See also Oluponna, J.K., “Orisa Osun: Yoruba Sacred
Kingship and Civil Religion in Osogbo, Nigeria” in Joseph M. Murphy and Mei-Mei
Sanford, (eds.), Osun Across the Waters, pp.46-67

50 Awe, Bolanle and Albert Olawale, “Historical Development of Osogbo”, p.5

51 Badejo, Diedre, Osun Seegesi, p.106, Awe, Bolanle and Albert Olawale, “Historical
Development of Osogbo”, pp.1-8; Falade, S.A., The Comprehensive History of Osogbo,
pp.174-176; Osogbo Cultural Heritage Council, History of Osogbo, pp.14-15

52 Badejo, Diedre, Osun Seegesi,pp.109-114

53 Awe Bolanle and and Albert Olawale, “Historical Development of Osogbo”, p.2

54 Abubakar, S., “The Established Caliphate: Sokoto, the Emirates and their Neighbours”
in Ikime, O., (ed.), Groundwork of Nigerian History (Ibadan: Heinemann Educational
Publishers, 1980), p.720 55 Ajayi, J.F.A. and Akintoye, S.A., “Yorubaland in the
Nineteenth century” in Ikime, O., (ed.), Groundwork of Nigerian History (Ibadan:
Heinemann Educational Publishers, 1980), pp.280-302) 56 Falade, S.A., The
Comprehensive History of Osogbo, p.90; Omosimua, O., “Osun Osogbo Opens Tourism
Mines in Nigeria” The Capitol: The Authoritative Tourism Magazine, vol. 1 No 2.
(2006), pp.10-17

57 Omosebi, J. “A Hermit and Her Hermitage” The Capitol: The Authoritative Tourism
Magazine, vol. 1 No 2. Omosebi, 2006, pp.16-17

58 H.R.M Oba Iyiola Oyewale Matanmi III, Ataoja of Osogbo, 2004, “Royal Message on
the Occasion of the Grand Finale of the 2004 Osun Festival Celebration” Osun Osogbo
Festival 2004 Official Magazine.Ataoja, 2004, pp.6-8 and Omosimua, O., “Osun Osogbo
Opens Tourism Mines in Nigeria” The Capitol: The Authoritative Tourism Magazine,
vol. 1 No 2. 2006, pp.16-17

59 S.O. Arifalo and Olukoya Ogen, The Yoruba, pp.2-3 and Omosimua, O., “Osun
Osogbo Opens Tourism Mines in Nigeria” The Capitol: The Authoritative Tourism
Magazine, vol. 1 No 2. (2006), pp.10-17

60 Badejo, Diedre, Osun Seegesi, p.xxiii

61 See Osun State Government, Treasures of Osun (Osogbo: Osun State Government,
2011), pp.3-4

62 See, for instance, “2004 Osun Festival Features” in Osun Osogbo Festival 2004
Official Magazine (Osogbo: Office of the Ataoja of Osogbo and Osun State Government,
2004), p.5.

63 See S.B. Amusa “Oral Traditions and the History of Osogbo: A Study in Traditional
Historical Preservation” in Adegboyega Ajayi and S. Idowu Fabarebo, (eds.), Oral
Traditions in Black and African Civilization (Lagos: Concept Publications for Centre for
Black and African Arts and Civilisation (CBAAC), 2009), 395-408

64 S.B. Amusa, “Oral Traditions and the History of Osogbo: A Study in Traditional
Historical Preservation” in Adegboyega Ajayi and S. Idowu Fabarebo, (eds.), Oral
Traditions in Black and African Civilization (Lagos: Concept Publications for Centre for
Black and African Arts and Civilisation (CBAAC), 2009), p.340

65Government of the Federal Republic of Nigeria , Osun Osogbo Sacred Grove’s

Nomination to the World Heritage List (Abuja: National Commission for Museums and
Monuments, 2004)

66 Government of the Federal Republic of Nigeria, Osun Osogbo Sacred Grove’s

Nomination to the World Heritage List (Abuja: National Commission for Museums and
Monuments, 2004)