Osun-Osogbo Sacred Grove

Brief Description

The dense forest of the Osun Sacred Grove, on the outskirts of the city of Osogbo, is one of the last remnants of primary high forest in southern Nigeria. Regarded as the abode of the goddess of fertility Osun, one of the pantheon of Yoruba gods, the landscape of the grove and its meandering river is dotted with sanctuaries and shrines, sculptures and art works in honor of Osun and other deities. The sacred grove, which is now seen as a symbol of identity for all Yoruba people, is probably the last in Yoruba culture. It testifies to the once widespread practice of establishing sacred groves outside all settlements. Statement of Significance

The dense forest of the Osun Sacred Grove, on the outskirts of the city of Osogbo, is one of the last remnants of primary high forest in southern Nigeria. Regarded as the abode of the goddess of fertility Osun, one of the pantheon of Yoruba gods, the landscape of the grove and its meandering river is dotted with sanctuaries and shrines, sculptures and art works in honour of Osun and other deities. The sacred grove, which is now seen as a symbol of identity for all Yoruba people, is probably the last in Yoruba culture. It testifies to the once widespread practice of establishing sacred groves outside all settlements.

Forêt sacrée d’Osun-Oshogbo
La dense forêt sacrée d’Osun, à la périphérie de la ville d’Oshogbo, est l’une des dernières zones de la forêt primaire qui subsiste au sud du Nigéria. Elle est considérée comme la demeure d’Osun, une des divinités du panthéon yoruba. La forêt, sillonnée par la rivière Osun, abrite des sanctuaires, des sculptures et des œuvres d’art érigés en l’honneur d’Osun et d’autres divinités yorubas. La forêt, désormais considérée par tout le peuple yoruba comme un symbole identitaire, est probablement la dernière forêt sacrée de la culture yoruba. Elle témoigne de la coutume, jadis très répandue, qui consistait à établir des lieux sacrés loin de toute habitation humaine.

غابة أوسون-أوشوغبو المقدسة

تمثل غابة أوسون المقدّسة في ضاحية مدينة أوشوغبو إحدى آخر مناطق الغابة البدائيّة المتبقيّة في جنوب نيجيريا. وتعتبر بمثابة منزل أوسون، إحدى آلهة ديانة يوروبا. تأوي هذه الغابة، التي يعبرها نهر أوسون، معابد ومنحوتات وصروحًا فنية شيِّدت على شرف أوسون وغيرها من آلهة يوروبا. كما أن هذه الغابة التي باتت تُعتبَر في نظر مجمل مجموعة يوروبا بوصفها رمزًا للهوية، ربما تشكل آخر غابة مقدَّسة في ثقافة يوروبا. وهي امتداد للعادات التي كانت واسعة الانتشار في الماضي، وتقضي بإقامة الأمكنة المقدسة بعيدًا عن الأمكنة السكنية.

Source: UNESCO/BPI

奥孙－奥索博神树林
奥 孙神树林密集的林地位于奥索博市郊外，是尼日利亚南部主要乔木树种的最后残留地之一。这里被视为约鲁巴神的万神殿之一，即生育女神奥孙的住所，大量的神 祠、雕塑品和艺术作品星罗棋布地分布在树林中蜿蜒的小河边，以纪念奥孙和其他约鲁巴神灵。目前看到的作为所有约鲁巴人身份象征的神树林，可能是约鲁巴文化 中最后一片神圣的树林。奥孙－奥索博神树林是曾经在所有定居点之外广泛种植神圣树林做法的见证。
Source: UNESCO/ERI

Священная роща Осун-Осогбо
Густые заросли Священной рощи Осун в окрестности города Осогбо – это один из последних массивов первичных влажнотропических лесов на юге Нигерии. Почитаемый как место обитания богини плодородия Осун, входящей в пантеон богов народа йоруба, ландшафт включает рощу и протекающую здесь извилистую реку. Он содержит большое количество святилищ, скульптур и произведений искусства, посвященных Осун и другим божествам йоруба. Этот объект, который считается ныне символом самоидентификации народа йоруба, вероятно, является последней священной рощей этой культуры. Он иллюстрирует распространенный в старые времена обычай закладывать такую рощу около каждого поселения.

Source: UNESCO/ERI

Bosque sagrado de Ochún-Oshogbo
Situado en la periferia de la ciudad de Oshogbo y surcado por los serpenteantes meandros de un río, el tupido bosque sagrado de Ochún es uno de los últimos residuos de bosque primario subsistentes en el sur de Nigeria. Considerado morada de Ochún, diosa de la fertilidad, este sitio alberga esculturas y santuarios dedicados a esta y otras divinidades de los yorubas. Es probablemente el último de los bosques sagrados de esta etnia y, por eso, se ha convertido en un símbolo de su identidad. El sitio atestigua la práctica –muy extendida en otros tiempos– de consagrar bosques a las divinidades en los alrededores de todos los asentamientos de población.
Source: UNESCO/ERI

オスン-オソボ聖林
source: NFUAJ

Criterion (ii): The development of the movement of New Sacred Artists and the absorption of Suzanne Wenger, an Austrian artist, into the Yoruba community have proved to be a fertile exchange of ideas that revived the sacred Osun Grove ;
Criterion (iii): The Osun Sacred Grove is the largest and perhaps the only remaining example of a once widespread phenomenon that used to characterise every Yoruba settlement. It now represents Yoruba sacred groves and their reflection of Yoruba cosmology.
Criterion (vi): The Osun Grove is a tangible expression of Yoruba divinatory and cosmological systems; its annual festival is a living thriving and evolving response to Yoruba beliefs in the bond between people, their ruler and the Osun goddess.

Long Description

The Osun Sacred Grove is the largest and perhaps the only remaining example of a once widespread phenomenon that used to characterise every Yoruba settlement. It now represents Yoruba sacred groves and their reflection of Yoruba cosmology. It is a tangible expression of Yoruba divinatory and cosmological systems; its annual festival is a living thriving and evolving response to Yoruba beliefs in the bond between people, their ruler and the Osun goddess.

The grove covers 75 ha of ring-fenced forest alongside the Osun River on the outskirts of Osogbo town, Western Nigeria. About 2 million people live in Osogbo. The grove in Yoruba cosmology is the domicile of Osun, the goddess of fertility. Ritual paths lead devotees to 40 shrines, dedicated to Osun and other Yoruba deities, and to nine specific worship points beside the river. Osun is the Yoruba personification of the 'waters of life' and the spiritual mother of the Osogbo township. It also symbolizes a pact between Larooye, the founder of Osogbo, and Osun: the goddess gave prosperity and protection to her people if they built a shrine to her and respected the sprit of the forest. Unlike other Yoruba towns whose sacred groves have atrophied, or disappeared, the Osogbo Grove has, over the past 40 years, been re-established as a central, living focus of the town. The Osogbo Grove is now seen as a symbol of identity for all Yoruba people, including those of the African diaspora, many of whom make pilgrimages to the annual festival.

The grove has a mature, reasonably undisturbed, forest canopy, which supports a rich and diverse flora and fauna - including the endangered white-throated monkey. Some parts were cleared in the colonial period, and teak plantations and agriculture introduced, but these are now being re-established. The grove is a highly sacred sanctuary where shrines, sculptures and artworks honour Osun and other Yoruba deities. It has five main sacred divisions associated with different gods and cults, located either side of a path transecting the grove from north-west to south-east.
The Osun River meanders through the whole grove and along its length are nine worship points. Throughout the grove the broad river is overhung with forest trees. Its waters signify a relationship between nature, the spirits and human beings, reflecting the place given to water in the Yoruba cosmology as symbolizing life. The river is believed to have healing, protective and fertility powers. The fish are said to have been used by the goddess Osun as messengers of peace, blessings and favour.

Traditionally, sacred trees and stones and metal objects, along with mud and wood sculptures, defined the deities in the grove. During the past 40 years, new sculptures have been erected in the place of old ones and giant, immovable ones created in threatened spaces in the grove by Suzanne Wenger working with a group of local artists called New Sacred Art. These sculptures are made from a variety of materials - stone, wood, iron and concrete. There are also wall paintings and decorative roofs made from palm fronds.
There are two palaces. The first is part of the main Osun-Osogbo shrine. The second palace is where Larooye moved to before the community established a new settlement outside the grove. Both buildings are constructed of mud walls with tin roofs supported variously by mud and carved wooden pillars. The three Ogboni buildings are constructed with sweeping roofs rising high over the entrances and supported on a cluster of slender carved wooden posts.

The Annual Osun-Osogbo festival is a 12-day event held once a year at the end of July and the beginning of August. The grove is seen as the repository of kingship, as well as the spiritual heart of the community. The festival invokes the spirits of the ancestor kings and rededicates the present Oba to Osun, as well as reaffirming and renewing the bonds between the deities represented in the Sacred Grove and the people of Osogbo. The finale of the festival is a procession of the whole population, led by the votary maid Arugba and headed by the Oba and priests, all accompanied by drumming, singing and dancing.
Source: UNESCO/CLT/WHC

Historical Description

The town of Osogbo is believed to have been founded around 400 years ago. It is part of the wider Yoruba community, divided into 16 kingdoms, which legend says were ruled by the children of Oduduwa, the mythic founder, whose abode at Ile-Ife, south-east of Osogbo, is still regarded as the spiritual home of the Yoruba people.

The earliest settlement seems to have been in the Osogbo Grove and included palaces and a market. When the population expanded the community moved outside the Grove and created a new town, which reflected spatially the arrangements within the Grove.
In the 1840s Osogbo became a refugee town for people fleeing the Fulani Jihad, as it moved south from what is now northern Nigeria. The Yorubas retreated further south into the forests and Osogbo, right at the northern edge of the forest, became an important centre for northern Yorubaland.
The Fulani attacks on Osogbo were repelled and, as a result, Osogbo has become a symbol of pride for all the Yorubas.

During the first half of the 20th century, the town of Osogbo expanded considerably. In 1914 British colonial rule begun. As it was delivered under a system of indirect rule through traditional rulers, the authority of the Oba and priests were sustained. A greater change was brought about from the middle of the 19th century through the introduction of both Islam and Christianity. Islam became the religion of traders and ruling houses - as it gave contacts to northern trade routes and links to returning exslaves from Central and South America. For a while all three religions co-existed but as time went by it became less fashionable to be identified with the Ogboni and Osun cults.

By the 1950s the combined political and religious changes were having a marked detrimental effect on the Grove: customary responsibilities and sanctions were weakening, shrines were becoming neglected and traditional priests began to disappear. All this was exacerbated by a rise in the looting of statues and movable sculptures to feed an antiquities market. At around this time part of the Grove was acquired by the Department of Agriculture and Forestry for agricultural experiments. Trees were felled and teak plantations established; sculptures were reportedly stolen and hunting and fishing begun to be recorded - previously forbidden in the sacred Grove.

It was at this crucial point in the history of the Grove that Austrian born Suzanne Wenger moved to Osogbo and, with the encouragement of the Oba and the support from local people, formed the New Sacred Art movement to challenge land speculators, repel poachers, protect shrines and begin the long process of bringing the sacred place back to life through once again establishing it as the sacred heart of Osogbo.
The artists deliberately created large, heavy and fixed sculptures in iron, cement and mud, as opposed to the smaller traditional wooden ones, in order that their intimidatory architectural forms would help to protect the Grove and stop thefts. All the sculptures have been done in full respect for the spirit of the place, with inspiration from Yoruba mythology and in consultations with the gods in a traditional context.
The new work has made the Grove a symbol of identity for the Yoruba people. Many from the African Diaspora now undertake a pilgrimage to the annual festival.

In 1965 part of the Grove was declared a national monument. This was extended in 1992 so that now the whole 75 hectares are protected.

Osun-Osogbo Festival

“Omi ooo,Eri ooo,Ota o oooo… Olómo yoyo…”

    Heavy footfalls rock the tarred road leading to the sacred Osun grove in Osogbo, south-western Nigeria. Engulfed in an aura of elation and anticipation, hundreds of worshippers clap and dance as they march behind Arugbá, Àdìgún Olósun and many Olósun priestesses, all clad in white apparels and having one mission in mind- to renew the mystic bond between the people of Osogbo (representing the whole of humanity), their Oba and Osun- the river goddess who endows them with fertility, protection and many blessings. The 500 year-old Àtùpà Olójúmérindínlógún had been lit, and its mystifying sixteen points are still burning with feisty flames like a wild Bàtá dancer.

- - Arugba carrying the calabash of sacrifice, covered with a big red robe at the grove

- – A throng of osun devotees following Arugba to the grove

As the worshippers proceed with great vigour and passion, Arugba leads them on, although tired from the heavy weight of the sacrificial calabash, its covering of large red cloth as well as the spiritual burden invoked on her, she saunters on. The two artistically crafted gates of the grove flings open as the throng enters the vicinity. The ambience of the grove unavoidably inundates the visitor with an intimidating spell- one that is further accentuated by the eerie sculptures and bizarre figures lining the road down the grove which seem to shield the forest from the outer world. The forest canopies ostentatiously blow their verdant shades as if to announce the arrival of Arugba, the votary maid carrying the sacrificial calabash on her head.

–Worshippers carrying the calabash of sacrifice to the river banks

-Worshippers collecting the river water after the sacrifice have been offered

…to pay our homage to Osun..we have come.. “Osun a gbe wa o”

The tarred road through the main gate and down the grove halts at the foot of another gate which leads to an adroitly sculptured mud gateway with relief images of various deities etched on it and palm fronds crossing overhead; these images possess bulging and intimidating eyes that seem to focus directly on anyone approaching it.

- – Main Entrance to the grove

Just beyond this entrance, the landscape takes a gentle descent to the banks of the picturesque Osun River meandering through the 75ha ring-fenced grove where it exacts its spiritual authority across the expanse. This afternoon, the water glistens like a sheet of dust-brown glass, its gentle waves seems to mimic the rhythm of bata and gangan drumbeats permeating the air; against rock outcrops punctuating the river course as well as labyrinths of gigantic tree roots lining the river banks, the waters rolled with low swishing sounds.

— Sculpted images of various spirit gods, lining the road to the grove

 

As soon as the crowd descends into the milieu, Arugba is led into the ancient Osun-Osogbo palace located a few metres from the river edge, where she is allowed to rest for a while under the supervision of the chief priest and priestesses, the sacrificial calabash is taken from her and carried down to the river banks where its contents of concoction are poured into the water as an offering to Osun, the goddess of fertility, healing and protection. As soon as this is done, everyone rushes down to the river edge to take a portion of the water- some in bottles while others in jerry cans; some just stoop to scoop a handful with their palms to wash their heads and faces while they pray to Osun for productivity in their business, protection for the enclave of Osogbo and fertility for the barren among their women. Some even throw different objects into the water such as money, to serve as gifts to appease the river goddess.

— Entrance to the forest grove

Iwopopo (traditional cleansing of Osogbo town) had been carried out; even Eke (traditional wrestling final) and Ayo Olopon Contest had taken place three days ago. Today, the 26th day of August, 2011 has waken up to witness the grand finale of this year’s annual Osun Osogbo festival- a 12-day event that takes place in the ancient town of Osogbo, Osun State, in the month of August and is regarded by most people as the biggest festival in Nigeria as it is regarded as the most venerated and attended as it draws devotees of the deity from Jamaica, United States, to Brazil, Cuba and other parts of the world. The annual festival serves as a renewal of the bond between the entire Yoruba people, their culture and their history.

— One of the nine worship points along the river

On the outskirts of Osogbo town, the grove sprawls across a large expanse, punctuated with forty shrines, nine worship points along the river as well as several sculptures and art works in honour of Osun and other deities among which several of them can be credited to Susan Wenger- the Austrian artist who helped in reviving the grove.

— Picturesque metal pedestrian bridge crossing the Osun river at the grove

Osun-Osogbo festival 2011 was successfully concluded on Tuesday, 30th of August, with the Ìkósìnrodò which featured a session of dancing and thanksgiving at the grove, and at which Arugba- the votary maid and the people of Oshogbo show their appreciation to the river goddess for her acceptance of their sacrifice and prayers, as well as in anticipation of a peaceful and wonderful year ahead.

— Devotees at the riverside

– Arugba and other worshippers rocking to the beat of talking drums during the Ìkósìnrodò

– Arugba- The Votary Maid who carries the calabash of sacrifice to the Osun grove

— Arugba posing for the camera during the Ikosinrodo

*Photos by Adeniyi Ajibola Stephen Lloyd (jibson008)

Olumo Rock - An African Tourist Destination

Olumo Rock, one of the most popular tourist destinations in Nigeria, West Africa, sits in the ancient city center of Abeokuta – a name which means “Under the rock”. Abeokuta was originally inhabited by the egba people who found refuge at the Olumo rock during inter-tribal wars in the 19th century. The rock provided sanctuary to the people as well as a vantage point to monitor the enemy’s advance leading to eventual triumph in war. The town of Abeokuta eventually grew as these new settlers spread out from this location. Abeokuta is just about an hours drive from the bustling metropolitan city of Lagos providing convenient access to an array of hotels, restaurants, clubs, casinos and various nightlife activities. Lagos is also home to the closest airport to Abeokuta, the Murtala Muhammed International Airport. Hotels in Abeokuta within minutes drive from the rock include Gateway Hotel and Olumo Guest House.

Tourists to Africa definitely need to consider putting Olumo rock on their travel plans. New renovations completed early 2006 upgraded the infrastructure of the site to include a new museum, restaurants, water fountain and an elevator that will provide even the climbing-challenged a wonderful view of the surrounding city.

The ancient Itoku market where local artisans and traders enjoy to haggle over price just as much as the customers like to find a bargain ies just outside the Olumo rock premises and is a must-see. The market is the center of the indigenous Abeokuta industry of tie-and-dye, locally known as adire. Adire crafters, usually women, both old and young show off their designs in sheds alongside the roads. Behind these sheds are buildings where many of these crafters live and work and their parents before them. In places where the plaster has cracked off the walls, you may see traces of the mud bricks used in the original construction. The locals are very friendly and if asked, will often give tourists and visitors informal tours of the dyeing processes. Other popular items to watch out for include local beads, bracelets, sculptures and musical instruments like the sekere and talking drum.

A trip to Olumo rock usually commences with a climb up the man-made stairs carved into the rock. While this sounds easy enough, it leaves many breathless and ready to take a break to rest on the benches under the trees growing from the rock and enjoy some clean breeze. The journey continues with climbs on irregularly sized rocks (or ladders which are now thankfully provided) through a narrow corridor that leads to the top of the rock. All along the way, catch sights of carvings in the rock, cowrie-studded statues and the ancient abode of the priestesses who live in huts on the rock. And yes, it is not uncommon to catch a sight of the very aged women who live there and mutter greetings or blessings as people make their way through.

It is often helpful to enlist the services of a guide who possess vast knowledge of the history of the rock and the culture of the people. This makes for an interesting climb as every twist and turn will reveal a significant story making the trip a truly memorable one.

On the way back down the rock, the sight of the Ogun river running like a silver chain amidst a forest of aged red corrugated roofs bordered by thick green forests which melt into the horizon is breathtaking.

Five things i missed out in Olumo Rock.

Now that several new improvements have been made at Olumo Rock, I cannot help but look back at the pre-improvement days with some nostalgia.

Over 20 years ago when I made my first trip to Olumo Rock, the only aids (though those are major aids) were the flight of steps carved into the rock which take you from the bottom to the first level. At the first level, there is also a concrete balcony which makes it possible to walk around the curve of the rock without any rock climbing apparatus and risk of falling off. One could also stand there to admire the beautiful spectacle of Abeokuta without getting height-sick. I do not know these were built (but should find out) and accepted them as integral parts of the rock. This part of the climb is still the same and it used to be the easy part and was as far as some people would go. As years passed, with each phase of improvement, the challenge associated with surmounting each level decreased.

In memory of Olumo Rock of years past, I now present this list of the 5 things I miss the most as we continue our climb up the rock.

1. The climb over irregularly sized boulders
We would stop to admire cowrie-studded statues while contemplating the next challenge – climbing through a corridor formed by two huge rocks over boulders of different sizes sporadically scattered through. The most able climber would take the lead hopping niftily over these boulders and would lend a hand to pull up other climbers coming behind. Several years ago, ladders were placed against the taller boulders to assist climbers.

2. People hauling drink-filled coolers up the rock
There were no restaurants and even though an assortment of vendors hung around the premises selling soft drinks and other snacks some visiting groups would bring their food and drinks in large coolers and haul these all the way up the rock. It was fun to watch them navigating these boulders while everyone in the group chimed in with the best strategy for getting past ‘that next rock’ – it gave meaning to group effort.

3. The jump over the rift between two rocks
Once out of the rock corridor, we alight on a higher level of the rock, take a break to relax and breath in the fresh air. We could walk around the relatively flat surface of this layer of rock and enjoy the even better scenery all around. There is a part of the rock where it is possible to slide down back to the previous level but it is real tough coming back up the same way. We decide to give it a shot on our way back but for now, the way is up. But alas, there’s a rift between the rock on which we stand and the next one which leads to the top. It looks like the rock split into two all the way down to the bottom. We ask how to get across, “jump”, the guides answer. They offer to carry anyone who is unable to jump. Naturally, you ask the obvious questions. “What happens if you do not make it across?”, “Has anyone ever had an accident here?”. The guides say “No, no one has ever had an accident here” and the reason? “The spirit of Olumo would not allow it”, they tell us this in all earnestness. Now there is a bridge built across this rift. Crossing it takes a simple stroll.

4. Tall tales
I miss having the guides assure visitors that the “spirit of Olumo will not allow you to fall” or “spirit of Olumo will catch you and return you to the top” if the visitor jumped short of the target destination.

5. The view of the rock
I miss the picturesque view of the rock unmarred by human influence. But wait, there was already human influence in this view that I hold sacred in my mind. So in all probability, the changed view will grow on me. And new experiences will present themselves.

Adeniyi Ajibola Stephen Stephen Lloyd Reprting...