1

MAGIC POETRY: A STUDY OF ARUGBA INVOCATION

IN OSUN OSOGBO FESTIVAL

AN ESSAY SUBMITTED TO THE DEPARTMENT OF ENGLISH,

IN PARTIAL FULFILLMENT OF THE REQUIREMENT FOR

THE DEGREE OF BACHECOR OF ARTS (B.A. HONS) IN

ENGLISH

FACULTY OF ARTS, UNIVERSITY OF ILORIN, ILORIN,

NIGERIA.

BY

LAWAL OLATEJU KHADIJAT

07/15CD107

APRIL 2011

2

CERTIFICATION

This essay has been read and approved as meeting part of the requirements for

the award of a Bachelor of Arts degree (HONS) in the department of English, faculty

of Arts, university of Ilorin, Ilorin. Nigeria.

_______________________ _____________________

Supervisor Date

____________________ ____________________

Head of Department Date

_______________________ _____________________

External Examiners Date

3

DEDICATION

This project is dedicated to the Almighty God, my protector who saw me

through my programme. Also to my priceless parents, for all their indefatigable effort

to see me successful in my line of course. And to my fianc, who supported me

morally, financially and spiritually through out the duration of this course.

4

ACKNOWLEDGEMENTS

My sincere appreciation goes to God almighty, the creator of heaven and earth.

I acknowledge with reference, your mercy grace and favour towards the completion of

this course. Thank you Lord, All that I am and hope to be, I owe to you.

My gratitude also goes to my supervisor Mrs Aliu Abraham, silver or Gold, I

have none, but I pray that your own children will meet favour in their various

undertakings.Thank you ma for your positive attitude to the supervision of this project,

your motherly advises, criticism and your words of encouragement that have in the end

led to the successful completion of this project.

I wholeheartedly express my thanks to my loving parents, for the great role you

have played in my life, in making my dreams come to reality. I can never forget your

impact in my life. May you live much longer to reap what you have sow.

To my adorable love Adewoye Abimbola. Thanks so much for giving me moral

and emotional support during the course of this research. I will always cherish you and

I pray that God Almighty will bind us together in his love. Amen.

My heart felt and utmost thanks, to my younger sister for their love in my life.

Opeyemi and Temitayo Lawal, I say thank you.

And remembering my colleagues and friends, Onibonoluta Temi, Ogunsanya

Funmilayo, Fagbayi Grace, Yemi Alao, sukky Babalakin Abiola, Bello Wunmi,

Oyeyipo Bukunmi I will live to remember you all.

5

ABSTRACT

Oral literature is an unwritten relation that encapsulates African values and

aspiration through which their philosophy, customs, beliefs, history etc. are preserved

and transmitted from one generation to another by word of mouth. The critical

examination of festivals in Nigeria presents highly Aesthetics performances, debunking

the Euro Centric assertion that Africans have no literature. The focus of this research

work is to attempt/investigate the aesthetic value of Osun festival celebrated by the

osun people through the invocation rendered during the festival, which makes it

magical in nature. This falls under the category of Religious poetry.

6

TABLE OF CONTENTS

Title Page i

Certification ii

Dedication iii

Acknowledgement iv

Abstracts v

Table of contents vi

CHAPTER ONE

1.1. Introduction 1

1.2. History of Osogbo 2

1.3. Osun Osogbo annual festival 3

1.4. Purpose of study 11

1.5. Justification 11

1.6. Scope and delimitation 11

1.7. Methodology 12

END NOTES 12

CHAPTER TWO

LITERATURE REVIEW

2.1. Introduction to Oral literature 14

7

2.2. Forms of oral poetry 17

2.2.1 Proverbs 18

2.2.2 Praise poetry 19

2.2.5 Funeral poetry 20

2.2.6 Religious poetry 21

END NOTES 24

CHAPTER THREE

3.1. Aesthetics of Osun Osogbo festival 26

3.2. Invocation poem in Osun Osogbo festival 28

3.3. Analysis of the magical poetry in Osun Osogbo festival 30

END NOTES 37

CHAPTER FOUR

4.1. Findings 38

4.2. Recommendations 39

4.3. Summary and Conclusion 40

END NOTES 41

BIBLIOGRAPHY 42

8

CHAPTER ONE

1.1 INTRODUCTION

It is said that literature reflects life, whether in oral or written works of art. The

Eurocentric scholars believe that African is with neither culture nor history which leads

this research into some scholars definition of culture

Harris (1971, p1) says culture refers to the learned, socially acquired traditions of

thought and behaviors found in human societies

Taylor (1871:1) holds the view that culture:

Taken in its wide ethnographic sense is that

complex whole which includes knowledge, Believe,

arts, morals, law, customers, and any other Capabilities

and habits acquired by man as a member of

society. (Taylor 1)

The beauty of our culture can never be underestimated because; it is part of

what makes up literature. African literature is classified into two parts; the traditional

or oral literature and written literature. Oral literature, which is the focus of this study

can further be classified into three parts; oral prose, drama and poetry. The oral poetry,

the main focus of this study, is forms which are either chanted on sung. There are

different forms of oral poetry; praise poetry, religious poetry, occupational, Lullaby,

public funeral, poetry. Invocation is one of the sub-parts of religious poetry, which is

the focus of this research work on the Osun Osogbo festival.

9

1.2 HISTORY OF OSOGBO

Osogbo is situated about 96 kilometers by rail and 96 kilometers by road north

east of Ibadan, the capital of Oyo state. It is 237 kilometers or approximately three

hours drive from Lagos, the Nigerias economic nerve centre.

Osogbos situation has tremendously changed Osun state since she became the

capital city of osun state on 27th of August 1991. Her area of operation of law has been

expanded, there by carrying out the capital territory. The town has become a tourist

centre for her famous Osun festival, the celebration of which attracts people from far

and near places every year. The other tourists attractions include Osun shines and

Susan Wengers cultural activities which include, the staging of plays for devotees and

visitors that come to pay Osun visit in her house, at Oja Oba, in Osogbo. And generally

educating people about Osun. Although a Britain, Wenger was one of Osun devotees.

The history of origin Osogbo begins with both Olutimehin and oba Larooye,

who were Ijesa men. They formerly lived in Ipole(Omu) a village which is about ten

kilometers from present site of Ibokun, a town in Osun state. They had to migrate from

Ipole(Omu), because of the serious and devastating droughts there, and find solace in

another place. Timehin and other hunter courageously took up the challenge and

moved out in search of a better place.

After some bold explorations, Timehin discovered Osun River and went back to

oba Larooye. On hearing the news, oba Larooye gave orders that all the remaining

people should immediately move to the bank of river Osun which had earlier been

10

found by Timehin and his entourage. They kept moving until their dilemma was solved

after a consultation with ifa oracle, which admonished them to move up to the present

site now known and called OSOGBO

1.3 OSUN OSOGBO ANNUAL FESTIVAL

Osun Osogbo festival is an annual event where Osun is worshipped and

beseeched for blessings and healings. It is believed that Osun has powers to treat any

barren woman, if properly approached

It was said that when Olodumare created the sixteen Irunmole (Premarital

deities) and sent them on earth, Osun was excluded on account of her being a female.

Osun reacted by gathering unto herself the women on Earth and formed the iya mi cult

(witches). The consequence of this was total chaos, which engulfed the whole Earth.

The male irunmole went back to Olodumare to inquire about the female member of the

group and was told of her exclusion by the male irunmole. Olodumare advised them to

go back and make peace with Osun, which they did, there after peace and normalcy

returned to Isaluaye (Earth)

Osun, in her lifetime as a human, was one of the wives of Sango, a former

trouble shooter and Alaafin of Oyo. Oya and oba (now river oba ) were the other two

wives of sango. Oya was sangos favorite, which made oba and Osun to be always

jealous. Osun has been described as a very beautiful humane, kind hearted, motherly

11

and highly respectful woman. She was powerful and a great fearless warrior among

women.

Sango was exiled from Oyo, a quarrel occurred on their journey, when both oba

and Osun told sango that they could not go along with him because Oya is his favorite.

Oba and Osun went their different ways after ward. Osun as a human did an aquatic

transmogrification on herself, when she made up her mind, she could not live without

her husband, and that neither would she die. In order to continue her assistance of

barren women and the needy, she transformed into Osun River.

The Osun Osogbo festival is the most pronounced, popular and prominent

among the other festivals in Osogbo. It has of recent attained international recognition

and standard for tourism. The Federal government of the democratic republic of

Nigeria recognized it as an important fund raising and remarkable festival that attracts

international attention. The annual celebration spans over twelve days usually held in

the early August of every year. Rituals are performed on some of the days leading to

the grand finale of the festival.

IWOPOPO (Matching through a road called popo)

This usually falls on Monday, twelve days prior to the finale, and therefore the

first of the twelveday festival. The king, chief, iya osun, (Osun priestess) Aworo

(Osun priest), princes and princesses, devotees and well wishers proceed to Gbemu

through other streets and then return to the palace, with the act of singing and walking.

This gives the people who want to pay homage to the king and his entourage the

12

opportunity to do so. This act represent the traditional clearing of the towns main road

of weeds, dirt, stagnant water and other things, that may obstruct free movement on the

last day of the festival. Also the clearing reflects the removal of any obstacle in the

spiritual realms that may hinder the success of the festival.

ATUPA OLOJUMERINDINLOGUN:- {sixteen- point lamp}

It was initially a spirits lamp {Osanyin}, a deity in charge of healing. The lamp

is about 17 centimeters high with sixteen lamps points on it. It is believed that both

Larooye and Timilehin found the lamp in the forest, when they first

settled at ontoto, which is now a street in Osogbo. The lamp is ignited at about 7:00pm

on Thursday, the king dances around it three times before he is joined by his wives,

chiefs, particularly the iwefa {Priests in the palace} and devotees. Iya Osun and her

companion do the singing and dancing until the next day which is Friday. It is a taboo

to allow the lamp to burn out before the stipulated time

OJO AJO- OBA {Ataoja committees day}

This is a day; Ataoja feasts his chiefs, princes, princesses, other family

members and friends. He also gives alms to beggars and other indigent people. This

occurs on three days after the igniting of the sixteen-point lamp.

The following Monday is set aside for sacrifices to the beaded crowns and

heads of Osogbo king. This is the day Ataoja calls into reminiscences the lives of his

ancestors and former kings. All the beaded crowns are assembled at a place, inside the

palace and sacrifices are offered to them.

13

The next sacrifice comes before the last day of the festival. Its holds on

Thursday, The Alare (a chief that attends to visitors, when the king is either not around

or busy) on behalf of Ataoja receives and entertain guests in the palace. These guests

include the ogboni group {a cult group that serves as a police force} and other well

wishers. The king himself remembers and offers sacrifices to the past Ayaba or Olori

{wives of his Predecessor}.

OSUN FESTIVAL FINALE

Osun festival finale often falls on the second Friday of August in every year,

except there are very important unforeseen and unexpected incidents or circumstances.

This is one of the greatest and remarkable days in Osogbo, when the town receives

very important personalities and visitors both from within and outside Nigeria, who

came to watch and add to the glamour of the festival. It is indeed a historic day. Many

visitors, well wisher, inquisitors, particularly barren women from all over the world,

who fervently prays for children are always found on the road that leads to the groove

on the day of the festival.

It is also characteristic of the day to see excited young men, carrying cane stick

in their hands thrashing one another with abandonment. This serve as an exhibition of

valor. Young ladies or damsels dance around the town in groups. They sing praises to

Osun, the kind hearted and philanthropic spirit of the water. She is acclaimed to be

general and kind, giver of children to barren women. The glorious day witnesses, the

thrashing feasts, gunshots into the air and regular supply of pulsating rhythms from

14

native and artistic drummers, singing to the process of the great celebrant, which serve

as prelude to the arrival of Arugba (votary maid)

There are two sacrificial places in Osogbo where Osun is appeased. One in the

groove, the lower part of Osun river, while the other takes place in the palace of

Ataoja. There is a house at the palace of Ataoja of Osogbo where, an image of Osun is

created, surrounded by other antiquities that depict her chiefs

aides, and messengers when she was alive. The statue of Osun is surrounded by

cowries which indicate that Osun was a wealthy woman in her time. There are guns

and sword made of brass around her to depict how powerful and mighty she was there

are also a mortar made of brass and soup pots to symbolize her legendary motherly

attributes. The ritual is performed by Iya Osun (Osun priestess) who is helped and

supported by other Osun devotees.

After the sacrifice the traditional calabash is filled with some relics of Osun.

These relics include cowries, brass mortar, segi beads, Iyun beads, brass sword and

pots (concoction pots) The calabash is then ready to be carried by a virgin princess

(who would have been chosen before now) to the groove. Two women would have

taken some of Osun relics to the groove in order to bring the consent of the spirit

goddess before Arugba majestically arrives and the final sacrifice is made.

15

ARUGBA

The Arugba (votary maid) is the most glamorous and important aspect of the

festival. A young virgin princess is traditionally scheduled to carry the calabash from

the palace to the shrine in Osun groove. Arugba is always chosen by the ifa priest

through divination. Irrespective of this childs age once the divination picks the person,

nothing can hold her back. During this research Araba of Osogbo, Chief Elebuibon

made it known that, during the divination, two or more princesses can be acknowledge,

but the one with the most advantage

carries the calabash. It is compulsory that the Arugba comes from the reigning kings

family. For example, the present Arugba hails from Matanmis family. She has been

the Arugba of Osogbo for the past eight years. She was chosen when she was just

eleven years and has been a virgin since that time. It is compulsory for the Arugba to

be a virgin and she must remain so for as long as duty calls.

The Arugba tends to be the most important person during the festival. Without

her, the festival can never be held. She carries the sacrifice to be accepted by Osun. It is

her purity that makes it worth while it worth. Even if the king dies and a new one has

not been installed, the festival will be held. However, Arugba can never be overlooked

or underestimated that is why whenever she is sighted by the huge around, there is

ecstatic shouts of joy in the air.

16

Arugba is not allowed to eat certain foods like, fish, snail, guinea corn, because

Osun does not take them. She is protected by Osun in all ways and from any form of

danger. She is the delicate, most precious, most important, person in this festival.

The ritual calabash is always covered with a light red velveteen cloth. The

Arugba herself is fashionately dressed with while bangles on her two arm wrists and

ankles. She ties white wrapper, with beads on her neck. The outing of the Arugba to the

shine is always heralded by the traditional talking drums. Immediately the drums

sound, everybody bursts into songs of joy and praises.

Oore yeye o

Osun Osogbo gba mi o

Olomo yoyo gba mi o

Oore yeye o

This means

Good mother

Osun Osogbo save me

Mother of many children, save me

Good mother

17

Arugba is always unconscious during the procession to the Osun groove. She

alternates between dancing and walking until she, followed by the people, gets to the

shrine. She is surrounded and supported by the chief priest (Baba Osun), Aworo (Osun

priest), iya Osun (Osun priestess ) and devotees. Chants are chanted after her and

devotees pray for her get to the shrine without accident. This is because she must not

hit her feet against stones neither must she fall. Arugba and her chaperones are dressed

in while attires which symbolize purity

The groove is a large open space with the river surrounding two thirds of the

land; it adds to its credit a sculptured metal gate with images of mermaid, hunters and

drummers. The gate is the entrance to the sacred stream to which

many of the visitors usually throng when the Arugba arrives, there are always loud

ovations with beating drums and dancing. Meanwhile the chief priest, priestess and

other relevant devotees enters the Osun shrine with the intention of making sacrifice.

Invocation is raised by the priest, while the whole groove is filled with silence by the

people. Ataoja is called into the shrine where he sits on the monumental stone of which

the first oba Larooye sat on. He offers prayers then the priest, priestess fervently prays

for the Ataoja, Osogbo and participants. when the sacrifice is carried to the river by the

chief priest for offering, Ataoja moves back to his seat and people move to the water to

take out of it in the belief that the water can solve their problems.

After the celebration at the groove the king leaves the shrine with other

dignitaries. Arugba the Osun priest and priestess, other relevant devotees are the last to

18

leave the shrine. However the Arugba enters the palace first before the king. She

symbolizes purity, so she enters into the palace first to cleanse it for the others. After

the calabash has been taken off her she goes to sleep immediately.

1.4 PURPOSE OF STUDY

The main purpose is to examine the aesthetics in the invocations rendered

during the festival. Through this the importance of Arugba in Osun Osogbo festival

will be fore grounded.

1.5 JUSTIFICATION

The study is to justify that good; the invocative poetry rendered during the

Osun festival makes its religiously dynamic with metaphysical attributes. This research

will explain the religious poetry aspect of the festival that makes it to be different any

other form of traditional celebration.

With this study I believe it will serve as a reliable literary metrical for future

study in religious poetry particularly in the area of Osun festival.

1.6 SCOPE AND DELIMITATION

The study is focusing on the invocations rendered during Osun Osogbo festival,

the metaphysical attribute in it that makes it important to the festival. It is restricted to

19

the invocations done on the last day of the festival especially as it concerns the Arugba

that carries the calabash.

1.7 METHODOLOGY

This research is based on the study of poetic forms in the Osun festival.

Hence the data collection method will be by interviews which will take place at

different location, visitation to Osun shrine during and after the festival. This will

ensure that actual performance is also witnessed. Library and internet search from other

scholars about the topic will also be reviewed.

END NOTES

Badejo, D. Osun Seegesi The Elegant Diety of Wealth, Power and

Femininity. Trenton: African world press, 1996. Print.

Harris, M. Culture, People Nature: An introduction to general Anthropology.

New York: Longman press, 1997. Print.

Olajubu, O. Women in the Yoruba Religion sphere Albany: State university

of New York press, 2003. Print.

Taylor, E. Primitive culture London: Murray press, 1871. Print.

Interview with the Arugba: Adebola Matanmi at her resident in Osogbo on 4th of

September, 2010.

20

Interview with the Iya osun (Osun priestess) at her osogbo residence on 4th of

September, 2010.

Interview with the Araba of Osogbo : chief Yemi Elebuibon at his residence

Ayetoro, Osogbo on 21st of August, 2010.

21

CHAPTER TWO

2.1 INTRODUCTION TO ORAL LITERATURE

Oral literature is the embodiment of African values and aspiration which

includes what we do, what we think, what we say, and what we are. This has to do with

culture traditions, customs and way of life of the Africans, which could be expressed

through traditional performance such as folklore and festivals.

According to Ekpenyong (1981:31)

Festivals are periodic recurring days or

seasons of gaiety or merry-making set aside

by a community tribe or clan for the observance

of sacred celebrations religious solemnization or

musical and traditional performance of

social significance. (Ekpenyong 31)

The African oral literature is a complex and controversial genre that has

generated debates and arguments among African and European scholars. However, we

shall attempts to examine the various definitions and assessment of both scholars and

draw a reliable, unbiased and accurate definition of the subject.

First, looking at the European perception of Africa oral literature in Dundes

word (cited in Okpewho 1992:43) states that:-

22

Your pages have so often given evidence

of the interest which you take in what we

in England designated as popular antiquities

or popular literature (through bye the bye ) it is

more of lore than literature and would be most

aptly described by a good Saxon compound, folklore-

the lore of the people . (Cited by Okpewho 43)

The above statement reveals the European, misconception of African literature

as well as reflecting their prejudiced mind as touching anything African, which they

believe to be cruel and uncivilized, and so not valuable. This is why Okpewho (1992:5)

boldly disapproves and to object to the Eurocentric assertion thus saying;

The word folklore implies much more than just literature and in some

quarters underplays the literacy aspect of what folk do (Okpewho 5)

A European scholar, who after a thorough research of this subject was

convinced about what truly oral literature is all about According to Finnegan (1970:6)

The concept of an oral literature is an unfamiliar

one to most brought up in cultures which like

those of contemporary Europe, long stress on the

idea of literacy and written tradition. In the popular

view it seems to convey on the other hand, the

idea of mystery on the other crude and artistically

23

under developed formulations. In facts, neither

of these assumptions is generally

valid. (Finnegan 6)

In festival, chants and invocation are based on the tradition of oral text.

Nmowa (1984:50) affirms that:

An oral text implies the unwritten move or less

standard version of hereditary tale, praise song

or chant which in general, members of the

community can recite without much difficulty and

reproduces in the same ways as literate people

read and recite a novel, a poem or the text of a play.

(Nmowa 50)

According to Anyidolho (1976:25)

A great deal of the vitality of oral literature

in performance is due to its ability to update

the past to make the past a life and relevant to

the present and its ability to project the present

into the future. (Anyidolho 25)

From all the above definitions of both European and African scholars, it can be

seen that African oral literature is a product of African community and it appeals to the

generality of the people within a particular community due to the fact that it combines

24

aesthetics with functionalitys. It serves as an essential tool for cultural survival and

continuity. Oral literature performs the same function as written literature. The

functional aspect of oral literature in the literary form is communication, which reflects

social and political values.

In other words, since there are no written records of the past, oral literature is a

useful device and means of preserving relevant information relating to the culture,

religion, social customs and ethics of the people. It is a medium of instruction,

communication pleasure, cultural presentation and springboard of written form. It is a

versatile genre which can be categorized into forms and sub-genres.

African oral literature can be classified into three forms namely, oral prose, oral

drama and oral poetry. Each form is further divided into smaller genres and sub

genres, oral poetry is the main study in this research work.

2.2 FORMS OF ORAL POETRY

The forms of African poetry are numerous and vary in form from one society to

another. No definition has been given to oral poetry as such, but knowledge of it is well

known by people and highly recognized. It has the sub parts which are:

2.1.1 Proverbs

2.1.2 Praise poetry

2.1.3 Lullabies

2.1.4 Occupational poetry

25

2.1.5 Funeral poetry

2.1.6 Religious poetry

These oral poetries are differentiated by the tone used by the oral poets

or performer. In the words of Beier in Olajubu (1975:65)

Yoruba poetry is classified not so much

by the contents or the structure but by the

group of people to which the reciter belongs

and the techniques of recitation he

employs. (Olajubu 65)

When these poems are chanted openly for audience to appreciate, they are to

enjoy it with their eyes and ears, which means that the real nature of oral poetry can be

realized through performance in whatever nature, either festival, Christmas, ceremonies

etc.

2.2.1 PROVERB

Proverbs are relevant short saying used in easing up speech and elaborate

linguistics content. Proverbs occur informally in day to-day verbal communication.

Their reference being a person or a situation known to both the audience and the user

before they are uttered

According to Abraham (2008:30) Proverbs are poetic lines that make use of

contracted language that are pregnant with meanings (Ibraham 30)

26

Olatunji (1984:170) states that:

Yoruba value proverbs are very highly, for

they are considered to be the wisdom lore

of the race. And because proverbs are

considered to be traditional, and originate from

the observation of natural phenomena and human

relations, old people are regarded as a repository

of proverbs. (Olatunji 170)

Proverbs do not only reveal thoughts of the pasts but also predict the future.

This type of poetry is mostly used by the elders of the society, either in family matters,

society or drive home in a nutshell loaded of messages that would other wise needed

wordy explanations. It is a short popular saying of expressing some general truth or

superstition. They are used to settle conflicts and also serve as speech embellishment

for winning audience admiration and appreciation.

2.2.2 PRAISE POETRY

Ibrahim (2008, p32) says Praise poetry involves giving pet names and

appellations to person based on their genealogical trees and praising people

(Ibrahim 32). Akporobaro (2005:50) he says Praise poetry is a form of poetry that

27

is specifically designed for the eulogistic portrayal of the virtues of a given subject

(Akporobaro 50).

This type of poetry is usually full of images and parallelism with other poetry

features.

According to Babalola (1966:24)

It is traditionally believed that the correct

performance of praise poetry in honour

of a progenitor gladdens the progenitor

in the worlds of the spirits and induces

him to shower blessings on his offspring on

earth the reciting or chanting of the appropriate

praise poetry in honour of the ancestors of a

particular family causes members of that family

who hear the performance to feel very proud of

their pedigree, and if they are then away from home,

they also feel exceedingly homesick. (Babalola 24)

2.2.5 FUNERAL POETRY

According to Akporobaro (2005, p52) Is the lament in poetic form of a

mourner for a departed loved one(Akporobaro 52). Ibrahim (2008, p35) in her words

define funeral poetry asIs a means of defining the philosophical existence of man in

28

this world(Ibrahim 35). The main purpose is to prepare the deceased for the journey

to the other world and a communion with the ancestor.

Akporobaro (2005:52) further explains that

It is a highly stylistic form of expression

that is governed by specific Poetic recitative

conventions used to express the feelings of

the mourners in a determinate form and

performance procedure. (Akporobaro 52)

2.2.6 RELIGIOUS POETRY

Religious poetry has sub- parts that include invocation, devotional divination,

chants and incantatory poetry. The main study of this research work is in the aspect of

invocation.

According to Ibrahim (2005:33) Invocation is as a level that is beyond the

ordinary comprehension of the common man (Ibrahim 33). The invocation is always

at the level of spirituality either by invoking the spirit of objects spirited man, gods &

goddess or God, for the actual point of either offering prayers or making evil request.

These forms of poetry are chanted towards the purpose of bringing about a desired state

of affairs. The words being chanted are always believed to have magical power either

by the chanter or listener. The words may also be recited along with the performance of

a ritual or festival that has some magical element existed in it. It is for the chanter to

29

invoke this spirit for the procurement of cure, for an illness, overcome an enemy, and

achieve success in his\her endeavor or for evil purposes.

According to Olatunji (1984:153)

Invocation is the first element in ofo, which

consists of the summoning of the incantatory

agents the agent, personages or objects,

may be invoked by special names to which

they are expected to answer with out fail.

(Olatunji 153)

Akporobaro (2005:52) States that

For some communities and individuals the

offering of libations to a God often involves

a highly literary use of language that has

supernatural tone in them. (Akporobaro 52)

The relevance of this study is the magical power in the spoken word. This is

why is so important when calling out the objects, spirit or personages with words that

make them feel important for this spirit to answer without fail. Not all incantations are

an accompaniment to herbal preparations, there are many which operate by the sheer

power of being spoken. This means the spoken names, origins, the symbolic

30

correspondence between the names of an agent are believed to work the desired effect

once the wishes of the enchanter are spoken.

The themes in invocation are dictated by the multifarious desires and Varity of

human wishes. The theme can either be the wish for good or evil contained in the

request after the invoking of the spirits. The features of invocation is the personal

nature of the words being rendered as a poem, the act of word play, even unknown to

the reciter, calling the spirit to be invoked special names, things that he/she can do for

him /her to answer the calling and make all man ever wishes for, to physical reality.

In all that has been said, invocation means the various magical expression that

is filled with mystical power of emotions and loaded with word images, that has

content of highly mytho-poetic and when these incantation or invoking words are

rendered or sung, the purpose is to achieve certain magical effect in the invitation of

either good or evil force, becomes poetry. In what is worth noting, the form of

recitation possesses intrinsic literary qualities of either form structure or imagery.

Finnegan (1970:167 -168) State that;

Firstly, the content may be religious as in verse about

mythical actions of gods or direct religious instruction

or invocation. Secondly, the poetry may be recited by

those who are regarded as religious specialists.

Thirdly, it may be performed on occasion which are

generally agreed to be religious one. (Finnegan 167 -168)

31

The underlying features of any religious poetry in Africa are the philosophical

cosmology belief system it operates in. The belief of Africans towards the supernatural

forces that gives birth to religion, which embraces the rituals, sacrifices and other

activities that sustain the existence of the people.

END NOTES

Akporobaro, F. Introduction to Oral Literature. Lagos: Princeton publishing company,

2005. Print.

Anyidolho, K. Mythmaker and Mythbreaker: The oral poet as an

ear witness. Austin: University of Texas, 1976. Print.

Babalola A. The Content and Form of Yoruba Ijala. Clarendon: press oxford,

1966.Print.

Ekpenyong, G. Festival in Nigeria. A bibliography Nigeria Magazine. Lagos:

Emaconprint limited, 1981. Print.

Finnegan , R. Oral Literature in African. Nairobi: Oxford University press, 1970. Print.

Ibrahim, B. Theme, Patterns and Oral Aesthetics Forms in Nigeria Literature.

Ilorin: Haytee press and publishing company, 2008. Print.

Nmoira , N. A Dramatic Tradition of the Igbo. Lagos: University press, 1984.

Print.

Okpewho, I. African Oral literature : Background character and continuity.

Bloomington: Indiana university press, 1992. Print.

32

Olajubu, O. Composition and Performance of Iwi Egungun in wande A (ed.)

Yoruba: oral tradition poetry in music, Dance and Drama. Ife:

Department of African languages and literature series, 1975. Print.

Olatunji, O. Features of Yoruba oral poetry. Ibadan: university press Limited, 1984.

Print.

33

CHAPTER THREE

3.1 AESTHETICS OF OSUN OSOGBO FESTIVAL

Festivals are the means through which man expresses his awareness of a

transcendental being outside himself. Man has always believed that there are certain

cosmic forces that manifest themselves in deities, gods, goddess, etc. These deities or

supernatural beings are believed to control the world through certain indictable laws, in

which Osun as a deity is one of them. Festival may accompany birth initiations,

funerals etc. They have spiritual importance and values for people who have belief in

them. They are largely appreciated for their past blessings and protection. The festival

also serves as an avenue for asking for blessings of the divinities through incantatory or

invocative words.

Osun festival, as the cultural institution of Osogbo fulfills its role in educating,

sustaining and passing of value attitude, beliefs and skills to the coming generation. It

serves as the means of handling down information and opinion. Culture manifests itself

in many dimensions. It shows itself in art architecture, modes of dressing and political

system, customs and institution of the people. All the cultural expressions mentioned

earlier make positive contribution to this community. This accounts for the fact that

everyone in the community participate in Osun festival whole heartedly.

34

According to stein (1978:22)

A culture, then which makes for the institution of

literature is richer or better than one which does

not, because it offers a source of enjoyment.

which the other culture does not. (Stein 22)

Therefore through Osun festival, the most cherished culture of Osogbo people is

thus critically emphasized, because during the festival, the community has the

opportunity of exhibiting its local art, historical sculpture and metaphysical attributes.

These constitute aesthetic pleasure as well as serving, as a means of cultural revival

through which the people can expose their most cultural heritage to the world at large.

The festival also affords the people of Osogbo a golden opportunity to interact

with their metaphysical goddess through the words used in moving her spirit, for her to

hear and answer their request. This gives the community satisfaction with

reinforcement, of social identity. Also, in each years performance, reference in made

to the history of the community rites to Osun and their success in the smooth running

of the community as kings. This narration ensures the passing of information from the

elder to the younger generation. In the same stories, hints of past events and problems

with reference of Osun as a deity are narrated, with her as a significant person, who

contributed as a unique mythical figure.

The festival ensure a unique experience in socio cultural solidarity, thereby

enhancing and proclaiming the communal laws, forms through its uniquesress and

35

wholeness. Both the performers and audience are united into an inseparable hole

through their co-expectation and participation. Psychology satisfaction is thus achieved

as the performance links with authentic aesthetic experience of the community.

3.2. INVOCATION POEM IN OSUN OSOGBO FESTIVAL

During the festival, in the groove, some poetic lines are rendered by the Aworo

of Osun (Osun priest). These lines are rendered in order to call upon Osun, invoke her

presence during the festival for her to accept their sacrifice and answer their prayer or

request.

Invocation is identified by its magical and mystical intention to subject the

entire universe to mans wishes. In it therefore, the powers in objects, plants, animals

or even the supernatural beings are summoned, urged or pleaded to carry out these

wishes through the poetic form of rendering the lines. The performance of invocatory

poetry is for a specific individual with its audience, who has a practical knowledge of

the various metaphysical grant in the power and magic that exits in the words.

The invocation rendered to invoke the spirit of Osun during the festival goes

thus:

Osun oni ji

Oye gun le

Ola de koju

Oira yarim wa yarin kowosi

Eleti ti eko

36

Abijamo tin reti Igbin

Eleyele Aro

Olode Ega

Ega sunsun ni yen ra

Awede wemo

Osun onile iki

Olode de iyun

Osun to fi gborogidi ide se opo

Ogun ogbodo ja mi mo, mo gbekele osun

Oroki ti ba eja nla soro, ti ran iki mii

Osun Osogbo rere ni so fun mi

Ire owo, ire omo, ire aiku bale oro

Ore yeye ooo

It is translated thus:-

Osun, creator of shelter

The anvil of chieftaincy

A person of everlasting wealth

A person who keeps her money in the gravel

Owner of bundle of parrot feathers

Mother of all

Owner of pots of dye

37

A weaver bird with plenty children

One who cares for children greatly

Owner of palm tree house

A person, who has beautiful beads

Osun that uses a big bronze to make her pillar

No war can be initiated against me again, I rely on Osun

Oroki which conversed with big fish and sends the biggest fish on an errand

Osun Osogbo please get me favourable water

Lucky money, Lucky Children and Everlasting life

Good mother ooo

After these lines have been rendered, the devotees pray immediately. It is

believed that since her spirit has been invoked, anything asked of her at that particular

point in time will be granted.

3.3 ANALYSIS OF THE MAGICAL POETRY IN OSUN OSOGBO FESTIVAL

Osun oni ji

Oye gun le

Olade koju

Osun, creator of shelter

The arrival of chieftaincy

A person of everlasting wealth

38

Here, the reciter tells of her importance, and what she can do or is capable of

doing. In the first line, she is described as somebody who has the ability and power to

create good shelter for people. This can be seen, when Larooye and Timehin were

looking for where to stay and they approached her, she came to their rescue, by

allowing them to settle in what is now called Osogbo. The reciter moves on praising

her by acknowledging that she is a chief. This refers to the first time she arrive on earth

not as an ordinary being, but one that the old and young revere. She is also described as

someone of everlasting wealth. In these three lines, the reciter stresses on Osuns

importance and capability with the hope that this will make her heed his call.

The next line that says:

O wa yarin wa yarin ko wo si

(A person who keeps her money in the gravels)

This line, particularly recalls us how Osun keeps her money/wealth, such that

she is not easily robbed of it. If anyone describes a part of her wealth, she must first be

asked; it can not be taken from her force fully. This implies that no matter how good

Osun is, how kindhearted, she can be to people, she is a well disciplined woman who

will not condone indiscipline.

Eleti ti eko

Abiyamo tin reti igbin

Eleyele Aro

39

Owner of bundle of parrot feathers

Mother of all

Owner of pots of dye

This line says Osun hears when people call her for help (eleti ti eko). She

listens to peoples pleas and answers to their call as long as they believe in her abilities

to help. The 6th line describes her as a mother of all; that is to say, it is believed that

she is a great mother that cares for all mothers and children. Line 7 refers to the fact

that Osun was a woman who made dye, used for clothes. This is why the reciter

includes this to show Osun that the person calling or invoking her spirit for help knows

her very well.

From lines 8 to 10 of this poem, Osun is described as a great warrior, who has

many children and cares for them all. This shows that she is a good mother as earlier

said by the reciter. She is likened to a weaver bird, because a weaver bird is a kind of

bird that takes adequate care of its young.

The chanter describes her as someone that is rich and sophisticated thus:

Osun onile Iki

Olode de Iyun

Osun to fi gborogidi ide se o po

Owner of palm tree house

A person, who has beautiful beads

Osun that uses a big bronze to make her pillars

40

All the items mentioned above are believed to be expensive things that people

sought after when Osun was a human being. Instead of using mud to make her pillars,

she used bronze. She is a woman who provides shelter with the use of palm tree. This

refers to the groove that has palm trees growing every where, making it a shelter for

people who come to worship during the festival. This is meant to show Osun that the

person invoking her spirit is familiar with her shrine and is thus one of her

worshippers. She is said to posses beautiful and expensive beads as a woman. In other

words, she is rich and fashionable

Osun is shown a lot of respect by the chanter from lines 1 to 13. These lines are

to praise Osun so much, so that she answer the call of the chanter, who needs her help.

In all the years that these lines have been rendered, it has always worked especially

after all the necessary sacrifices have been made. Aworo Osun made this to be known.

After all her contribution, successes and capabilities have been rendered the

chanter gives the assertive statement:

Ogun gbodo ja mi, mo gbekele Osun

Oroki ti ba eja nla. Soro, ti ran eko ni se

No war can be initiated against me again, l rely on Osun

Oroki which conversed with big fish and sends the biggest

fish on errand

41

This shows not only the chanters belief and assurance that Osun has answered

him, but it also lets osun know this fact.

In the last three lines of this poem, the chanter askers for money, blessed

children and long life

Osun Osogbo rere ni o sun fun mi

Ire owo, ire omo, ire aiku bale oro

Ore yeye ooo

When the chanter finishes with all these lines, the audience believes that the

spirit of Osun which has been called upon, has answered them and in fact is in their

midst, then every on who is in need of one thing or the other starts praying, believing

that whatsoever they ask for at that particular moment will be given to them by Osun.

There are also some literary terms that can be found in this poem. The use of

repetition is simply significant in the case of Osun. It has been used in this poem as

significant figure that the whole poem is all about. The invocation is for the calling of

her spirit presence for requests to be answered. Her name Osun was used at the

beginning of the poem and in other places. Other words were also repeated such as A

person, that can also be terms as referring to Osun.

Olode Ega

E ga sunsun in yen ra

A great weaver bird

A weaver bird with plenty children

42

Osun was human before she transformed to a supernatural being. She was never

a bird. But a metaphor has been implored in this poem, to represent Osun as a strong

woman, because a weaver bird is strong. And that she takes care of her children, no

matter how many they are.

Oroko ti ba eja nla, soro, ti ran iko nise

Oroko which conversed with big fish and sends the

Biggest fish on an errand

The use of imagery is seen in this line of the poem. Where Osun is seen, talking

to the big fish and sending the biggest fish on an errand which symbolism power of

how Osun can do unimaginable things.

Some elements of praise poetry can also be found in invocations. It is said that

praise poetry is designed for eulogistic portrayal of the virtues of a given subject. Also

that when praise words are rendered in honour of a progenitor, it gladdens the world of

such spirits. In these invocation rendered during the Osun festival, there are some

aspects that praise Osun. Where the reciter tells us of how she is beautiful, rich caring

etc. These can be seen from lines 1 to 13. These words would make a being, and indeed

a deity answer to such calls.

The difference is that for a deity such as Osun, sacrifice would have been done

along with the recitation. The sacrifice carried by Arugba on the day of the festival and

others already done before the festival.

43

The performance involves the participation of the king of Ataoja of osogbo,

Arugba (votary mad) Aworo Osun , Iya Osun (chief priest and priestess), and the entire

people of osogbo, who are the audience and the special devotees

The audience is the combination of the entire people of Osogbo, outside

Osogbo even Nigeria. Journalist, tourist and everybody who witness the performance

of the festival. Audience plays a significant role in the realization of the performance.

The audience joins in the singing of Osun praise, dance to the songs and drumbeats,

beaten during the festival. Audiences are also permitted to bring sacrifice items with

them, in the view of the alias they had with Osun, a year before. This level of gifts

shows that, Osun herself kept her side of the bargain, by answering their requests. This

means that, Osun festival is not a myth, neither is the magical effect on people during

the festival can be under estimated. They participate in the drinking of the medicinal

water and bathing themselves in it. They also pray to Osun, asking for protection,

fertility, prosperity, and that is why osun still has devotees and worshippers

Aworo Osun is the priest to Osun. He performs together with Iya Osun in the

worship of Osun divinity everyday and during the annual festival. Aworo is the chanter

that recites the invoking words, every year, and like Iya Osun, he too knows what is

necessary to be done in pleasing Osun, both in times of peace and pestilence. He knows

what sacrifice is to be offered, how it should be offered and whether or not what is

offered is adequate and acceptable to Osun divinity. He helps the audience or devotee

44

who would want to bring sacrifice offering for Osun during the festival, before the final

day for offering like orange, bean cake, porridge etc.

Hence, the essence of the symbolic and distinguish participation of the Ataoja,

Iya Osun Aworo Osun and the importance of Arugba add to the overall aesthetic and

completeness of the festival whereby, they know the words to use in invoking very

well and is been rendered accurately every year, and obeying the rules of Arugba

remaining a virgin.

All been said, the main point is that, we can see that there are invoking words,

rendered during the festival and with the believe of devotees, it makes it a religious

poetry, which is to be placed under oral poetry. Oral poetry is not lore but the

beginning of literature in Africa, not only in Africa but anywhere in the world. People

have history and nobody jumps up in a day to start writing history of ceremonies,

festival Christmas. It all started with the act of passing the information through mouth

from one generation to another.

END NOTES

Stein, O. The structure of literary understanding Cambridge: Cambridge

university press, 1978. Print.

Interview with the Araba of osogbo, chief Yemi Elebuibon at his residence

Ayetoro, in osogbo on 2ist of August, 2010.

Interview with the Aworo Osun : Baba Ibeji at his residence in osogbo on 4th of

September, 2010.

45

CHAPTER FOUR

4.1 FINDINGS

According to Bolaji Idowu he believe religion has an organic life of its own,

which results from driven activity and mans positive response This means that the

aim of festivals can only be met when divine activity and mans positive response are

in equilibrium therefore any contradiction or loophole might result in havoc or

confusion.

There are some factors that are militating against the Osun festival.

Urbanization, industrialization, improved medical facilities and the influence of the

orthodox religions, Islam and Christianity. In the past, children had to inherit their

parents religion alongside their property. But now children are free to choose their

religion. Some parents send their children to urban places including foreign lands, for

better education and jobs. Improvement in medical facilities have made people to

believe more in science for the ability to conceive and bear children than to worship

and invoke deities like Osun for the cure to childlessness.

The arrival of Islam and Christianity has also had strong negative effects on the

festival and the African traditional religion generally. These two religions claim

salvation and deliverance from such conditions like bareness that can be obtained

through their own supreme deity

However, one thing that cannot be left out is the cold attitude given by some of

the people concerned with the festival. They make the extraction of information on the

46

festival difficult by demanding for money before they can give information. In every

negative form, there is always the positive side.

The aspect of the survival of Osun festival is the cultural activity. The music,

dance and the beauty found in the rendition of the invoking lines. This facts is that

people who believe in Osuns power, testifies that, she hears and answer their prayers.

This can be seen in the acts of peoples sacrifice during the festival. Pouring of food

items, fruits inside the water, placing of money on the water and so many other things,

which shows that for the past 500years of celebrating Osun, she indeed answers prayer

when called upon. People from all over the world come to witness this festival. Some

as tourist, some to testify, some to watch if the festival is actually real or is just a myth.

Another factor in support of Osun festival is the unstable nature of the orthodox

religious worshippers. These people are mostly seen during one problem or the other

running to the tradititionalist for help in solving their problems. Most of these people

are educated.

4.2 RECOMMENDATIONS

Much should be done to increase the documentation of our cultural festivals that

is in line with art for future generation and upcoming youths. This documentation has a

role in the proper propagation of cultural and intellectual products, in order to ensure

the continuity of the refined and noble aspects of our tradition, as well as transmitting

to the audience, to capture all aspect of the performance.

47

In the same vein, Africa culture and tradition should be included in the

educational curriculum of the countys education sector, at each level. It should also be

made compulsory. So that the young generation would learn African ways of life, as

they grow. The festival should be well improve, that will project and better country

economically and socio politically in a long way.

4.3 SUMMARY AND CONCLUSION

In spite of the negative attitude shown by some, it will be pertinent not to

mention the positive efforts of some African scholars. These scholars include.

Isidore Okpewho, Babalola S.A, Ibrahim Binta, Finnegan and others. These scholars

have tried in no small way in making African oral literature thrive. Some universities

and other institutions have recognized the importance of African oral literature by

introducing it into their studies.

Every human being prays, by either invoking spirits, gods, object, God for help

with positive or negative intentions. The invocation in Osun festival is to ask the spirit

for help in the land and among the worshippers. As a part of orature, therefore the

aesthetics dimension of the festival will continue to intrigue literary scholars and the

particular Yoruba ethos will still be intact.

Osun Osogbo festival is a sustainable cultural element that helps in sustaining

our attitude, values and skills to the coming generation.

48

END NOTES

Bolaji, I. Olodumare: God in Yoruba belief London : Longman, 1962. Print.

49

BIBLIOGRAPHY

Primary source

Interview with the Araba of Osogbo : chief Yemi Elebuibon at his residence

Ayetoro, osogbo, on 21st of August, 2010.

Interview with the Aworo Osun: Baba Ibeji at his residence in Osogbo on 4th of

Adebola Matainmi at her residence in Osogbo on 4th of September,2010.

Interview with the Arugba : Adebola Matainmi at her residence in Osogbo on 4th of

September, 2010.

Interview with the Iya Osun (Osun priestess) at her Osogbo residence on 4th of

September, 2010.

Secondary source

Akporobaro, F. Introduction to Oral Literature. Lagos: Princeton publishing

company, 2005. Print.

Anyidolho, K, Mythmaker and Mythbreaker: The oral poet as an ear witness.

Austin: university of Texas, 1976. Print.

Babalola, A. The Content and Form of Yoruba Ijala Clavendon: press oxford,

1966. Print.

Badejo, D. Osun Seegesi: The Elegant Deity of Wealth Power, and Feminity. Trenton:

Africa world press, 1996. Print.

Bolaji, 1. Olodumare: God in Yoruba belief. London: Longman, 1962. Print.

50

Ekpenyong, G. Festival in Nigeria. A bibliography of Nigeria magazine.

Lagos: Emaconprint limited, 1981. Print.

Finnegan, R. Oral literature in Africa. Nairobi: oxford university press, 1970. Print.

Harris, M. Culture, People Nature: An Introduction to General Anthropology. New

York: Longman press, 1997. Print.

Ibrahim , B.Themes, Patterns and Oral Aesthetics Forms in Nigeria Literature.

Ilorin: Haytee press and publishing company, 2008. Print.

Nmowa, N. A Dramatic Tradition of the Igbo Lagos: university press, 1984. Print.

Okpewho I. Africa oral literature: Background Character and continuity.

Bloomington: Indiana university press, 1992. Print.

Olajubu O. Composition and Performance of Iwi Egungun in Wande A (ed)

Yoruba Oral Traditional Poetry in Music, Dance and Drama. Ife.

Department of Africa language and literature series, 1975. Print.

Olajubu O. Women in the Yoruba Religious Sphere Albany: state

university of New York press, 2003. Print.

Olatunji, O. Features of Yoruba Oral Poetry. Ibadan: university press limited, 1984.

Print.

Taylor, E. Primitive Culture London: Murray press, 1871. Print.

Stein, O. The Structure of Literary Understanding Cambridge: Cambridge

university press, 1978. Print.