Amazing things to know about Ọ̀ṣun Òṣogbo Festival

Deborah Oladejo highlights the uniqueness of the Ọ̀ṣun Òṣogbo festival, an internationally-recognised cultural celebration, held every August, showcasing the rich traditions and customs of the Yoruba people…

Historical background

Legend described it as a celebration of a covenant between the Osun goddess and the first Ataoja of Osogboland, Oba Gbadewolu Larooye l from Ipole Omu alongside his bosom friend, the great hunter Olutimehin.

The Ataoja of Osogbo in a solemn act of devotion, pays homage to the goddess each year in remembrance of his forefathers and fulfillment of the sacred covenant between his people and the divine protector of their city.

The history of the Osun-Osogbo festival dates back hundreds of years, to when the great elephant hunter, Olutimehin went on a hunting expedition and discovered the Osun Riverine had a better living condition compared to the drought and famine in Ipole Omu.

Olutimehin was said to have reported back to Larooye of his discovery and convinced his friend to make a pact with the Osun goddess so that the prosperity and protection he and his people needed could be enjoyed. This, Larooye and his people accepted and today the annual sacrifice to the Osun River goddess is still celebrated as the Osun-Osogbo Festival.

Ọ̀ṣun Òṣogbo festival today

Today, the Osun River is considered a sacred place and worshipers from far and wide embark on annual pilgrimages to honour the goddess and seek her blessings. 

The Osun Osogbo festival is a captivating event that attracts thousands of Osun worshippers, spectators and tourists from around the world, including sons and daughters of Osogbo in the diaspora, who celebrate Yoruba culture with vibrant music, dance, and traditional rituals.

The festival’s vibrant display of Yoruba culture has emerged as a significant driver of tourism and cultural exchange in the Southwest region. The event draws a diverse array of visitors, offering an opportunity to experience the rich traditions and customs of the Yoruba people. As a result, the festival has become a powerful tool for fostering cross-cultural understanding and promoting Osogbo as a must-visit destination for those seeking a unique, authentic cultural experience.

To recognise its global significance and cultural value, the sacred grove was named a UNESCO World Heritage Site in 2005.

How the festival is celebrated

As the Osun Osogbo festival approaches, the total estimate of each year’s rites is presented by the  Osun devotees led by Baba Ososa alongside the Iya Osun. Meanwhile, this is often preceded by Ifa divination which reveals those requirements for the year. The funds are provided by the reigning monarch to the Osun devotees. 

The Osun-Osogbo festival is a two-week programme comprising traditional and cultural activities dedicated to various deities and groups. 

The festival takes off officially with the “iwopopo” the path clearing which involves the reigning monarch, leading the procession from the palace to Gbaemu areas amidst a mammoth crowd with pomp and pageantry. At the Gbaemu junction, a few kilometres from the palace, Kabiyesi is usually seated in his full regalia with different chiefs paying obeisance to him in turns. Prayers and traditional gifts are exchanged. The Kabiyesi must as a matter of rites stop over at the Iwinjobi compound along the road to observe traditional rites and iwure (traditional prayers). Libations are poured to appease the unseen spiritual forces present. This done, Kabiyesi returns to the palace led by his elder brother traditionally known as Baba Kekere amidst the kingmakers led by the Ajagunna of Osogboland.

Three days after “Iwopopo” is the lighting of the “Ina Olojumerindinlogun”.  This day is dedicated to ‘Osanyin’, a Yoruba deity responsible for healing through herbs. Also, a traditional sixteen-point lamp, believed to be over 500 years is set to burn using palm oil soaked in cotton wicks from 7 pm to 7 am. The Ataoja, his wives, Ifa priests and traditional priests would dance around the sixteen-point lamp three times to the admiration of a cross-section of the Osogbo people present at the palace grounds.

 A day is also dedicated to the Ifa (divination) priests who dance around Osogbo town. Another day within the two weeks is also for acrobatic performances by personified deities like Oya, one of the wives of Sango with whom Osun was on good terms.

On the 9th day, the Ataoja and his High Chiefs pay homage to his in-laws in a procession that leads from one house to the other. 

Then comes the “Ibo-ade”, the display of crowns of the past and present Ataoja of Osogbo for re-dedication to Osun. On this occasion, chiefs, priests and priestesses assemble before the crowns to salute the royal ancestors. The occasion is to invoke the spirit of the ancestors of the Ataoja for a bestowal of blessings on the Osogbo people.

The Arugba (votary maid)

Part of what happens during the festival is the celebration of the past Arugba (votary maids). On this day, they all come together, dance and share their experiences of when they were carrying the sacred calabash. Each narrates how long she served as the votary maid and the monarch on the throne They are thereafter presented with gifts.

On the grand finale, early in the morning, the votary maid and the baba Oosa must present before the reigning monarch, a calabash which the king must nod before the full commencement of the festival proper. Failure to nod the calabash by the reigning monarch is a bad omen and the devotees often use this as bait for the reigning monarch to accede to their billing in the area of funds. This is key and unique for the festival. This is done very early in the morning before the carrying of the spiritual calabash to the shrine at the grove.

The Arugba procession is the highlight of the Osun-Osogbo Festival.  The procession begins at 9 am. It is led by a virgin votary maid (Arugba). The procession is accompanied by drumming, singing and dancing.

One of the star attractions is the flogging ceremony by the youths of Osogbo. The flogging stops when the Ataoja gives out money to the youths. The Arugba who carries the ritual calabash of appeasement follows the route to the Osun temple where she puts down the calabash in front of the Osun priests who accompany her to the shrine.

The Ataoja offers prayers after which the priestess and priest pray for the Ataoja, Osogbo community and other people at the festival. The sacrifice is then carried to the river for the offering.

To crown it all, there’s a peculiar aspect to the festival. When the votary maid returns to the palace, the calabash will be removed from her head but a sacrifice must be performed by Baba Oosa, the chief priest for the day. One thing one needs to know is the votary maid has bitter kola in her mouth to and fro the grove which forbids her from talking or stumbling on the way. A fowl is killed. The blood of the fowl is put inside the votary maid’s mouth, then the calabash containing the rituals is removed from her head and handed over to the reigning monarch who stands somewhere hidden from the crowd at the old palace, this signifies the end of the festival for the day. 

The Arugba is the soul and represents the life-giving force of their spiritual being. As the soul of the celebration, two bitter kola nuts are placed in her mouth so, she cannot speak out. She must not stumble lest her fate and subsequently Osogbo and all humankind will be exposed to hazards throughout the following year.

Economic impact

The annual Osun Osogbo festival has proven to be a boom for the local economy. From hotels and restaurants to local artisans and street vendors, businesses of all kinds see a surge in revenue during the festival. The festival not only preserves and showcases Yoruba culture but also creates a lasting, positive economic impact for the people of Osogbo.

Some rites precede the festival. The Oro and ilagbo are exclusive rites carried out yearly by the adherents of Oro. The ilagbo by special household in Osogbo who are detailed to open the floor for rituals to commence. The necessary ingredients for each rite are provided by the reigning monarch and his family. Some attract rams or goats either black or white as it were. These must be presented along with kolanuts as required by the customs and traditions of the land. There is a litany of deities with different demands and taboos which must be observed and adhered to by the reigning monarch.

There are also the post-festival rituals like ikosi rodo, a few days after the grand finale.