Osun Osogbo is now “Nigeria’s foremost cultural festival,” according Jubril Bello Gada, Minister of Tourism, Culture and National Orientation. He praised the organizational excellence of the annual festival, which combines the best elements of the environment, religion and culture, while also “empowering local craftsmen.”
Beyond Wenger
Fears that the celebration of the Osun river goddess might wane after the death of Austrian born priestess, Susanne Wenger, have been laid to rest, at least for now. It is hard to describe the expansive tapestry of the festival’s grand finale (held on August 14), or the massive influx of people into the ancient Yoruba town, which left hardly any walking room in the grove and surrounding streets.
NEXT’s conservative estimate puts the crowds on Osogbo’s streets at about 100,000 people (official counts would be useful for future editions). Osun Osogbo can pull them in, Wenger or no Wenger. Adunni Olorisa would have approved.
New look grove
The management committee of the Osun grove is not relenting in its effort to maintain the grove and keep its tourism appeal. An Artists’ Village is under construction within the sacred forest; a concrete staircase now also leads down into the grove, aiding the movement of people. Unlike previous editions when people jostled to get to the river, the steps somewhat served as crowd breakers this year, and allowed for more orderly movement.
Wahala Dimeji
Speaker of the Federal House of Representatives, Dimeji Bankole, came to Osun, and those pushed here and there by his overzealous men-in-black will not forget in a hurry. While governor Oyinlola heartily joined in the proceedings at every opportunity, Bankole sat stiffly. His security men were even stiffer, toting machine guns, glowering at all comers in the dignitaries’ enclosure.
No one was spared, not even the chiefs of Osogbo who had important traditional roles to perform at the event but most of whom were initially barred (“E dakun, e je kan wo’le!” – please let them come inside! – the compere had to shout over the loudspeakers for long, embarrassing minutes).
People were shoved this way and that. “It’s not usually this bad,” one journalist said. “It’s because of that Dimeji Bankole.” It would seem the Speaker lived up to the meaning of his first name (referencing a doubling of qualities); the official wahala (trouble) was double at Osun Osogbo this year.
Oyinlola’s sleight of hand
Want to know the direction of the Osun State government on culture and tourism? Attend the grand finale of the festival and you will know what’s cooking. The state governor, Olagunsoye Oyinlola, usually discloses his administration’s culture agenda at the event.
After noting that the uniqueness of Osun Osogbo “lies in the fact that it is one of the few cultural festivals that has, to a large extent, maintained its originality, genuineness and universal acceptability,” the governor played his hand. He informed that the Centre for Black Culture and International Understanding will host a Conference of Black Nationalities in Osogbo soon.
Night of Pentecost
The mural-painted Arugba’s quarters in the Osogbo palace was a haven for Osun adherents, away from the corporate sponsored parties outside. It was festival eve, and a religious service was under way inside, bearing a marked resemblance to African church proceedings.
The priestess of Oya (Osun and Oya were wives of Sango, the thunder god) was leading a call-and-response songfest, complete with exuberant dancing. One woman had fallen into ‘the spirit’ and was being soothed by others. In the front end of the room was an altar, where the Yeye Osun sat. She and other priestesses were divining and praying for devotees kneeling before them.
If anyone drew parallels with Latin-American Catholicism on seeing maidens bearing idols on their heads on the big day, they didn’t say. The showstopper of the festival was the Arugba (something of a Virgin Mary figure) who carried the offering to the river. Frenzied scenes greeted her entrance into the grove: thousands participated in the visual spectacle of finger-snapping, front-to-back motions over their heads to ward off back luck as they prayed; some women removed their headscarves in reverence.
Thousands came with kegs of all sizes to fetch away Osun water, said to have curative properties. “It’s very Pentecostal,” said one observer.
The roving minstrels
Bike-bike is a regular face at major cultural events in the south west. Holding his trademark megaphone to chant praises for cash gifts, he had a tough time beating the security barrier around dignitaries this year, but he eventually did.
In his haste to make up for lost time, Bike-bike moved too close to the high table. Armed guards were angered and one of them ordered him to leave, but Bike-bike didn't budge, despite repeated threats. Governor Oyinlola's assistants who knew him, later intervened.
Bike-bike was not the only megaphone wielding minstrel at the grove. Another man, dressed in black, also played loud-hailer. When irritated reporters told him he was blocking their view, he said, "B'eyin se nse ise tiyin lemi naa nse temi" (I'm doing my job just like you are doing yours).
A thousand drums... and Dirty Dancing
A thousand drums sounded out and mingled in the thoroughfares of Osogbo during the festival, the resulting cacophony energizing the carnival atmosphere. The burst of dancing all over town reached epidemic proportions.
Osun devotees, tourists, young children of Ifa engaged in graceful bata movements. On festival's eve, a major jamboree was under way in the grounds of the Ataoja's palace. Young people danced to hip live bands in an atmosphere fueled by beer consumption; there was also a raffle draw. Elsewhere in the palace, pockets of traditionalists did their own thing.
One group, from Ilesa, sat in a circle, singing Osun songs in Ijesa dialect. Then a drunk vagrant decided to stop loitering and join in the fun. What followed was a hilarious session of dirty dancing, bumping and grinding, complete with ‘monkey scratches' of the nether regions. He overplayed his hand eventually, and made to enter the circle.
The leader, a woman, would not have him sully their sacred rites. ‘Ehn-hen!' she said, signaling for him to keep away. At which point he grew sober and resumed loitering.
Heritage concerns
The immense success of Osun Osogbo ensures its survival, but may also pose a threat. Corporate sponsorship of the festival is at an all time high, as evident from the countless banners lining the route to the grove. All efforts seem to be geared towards ensuring the continuing growth of Osun Osogbo.
However, not enough attention is being paid, it seems, to the negative impact on the fabric and special character of the UNESCO World Heritage Site. The incursion of corporate banners into the inner sanctum of the sacred grove, right up to the river altar (ojubo), is a worrying trend.
One culture activist pointed to Star and MTN banners tied to trees in the protected forest, saying, "This is not respectful of the high cultural and spiritual importance of the Osun grove." He noted that organisers could have exercised a strict limit to the excessive corporate presence "and they still would have sponsored the event!"
A newly completed road, a dual carriageway, now stops just outside the gates of the grove, with the potential to detract from the secluded quality of the site.
Ifa does not bow
The special status of Ifa priests in Yoruba religion was highlighted during the obeisance session when designated groups paid homage to the Ataoja. While groups including the chiefs, princes, the herbalists (awon onisegun) and others knelt or prostrated as required when greeting the king, it was not so with the Ifa priests. Led by the Awise of Osogboland, Ifayemi Elebuibon, the priests merely squatted.
Reverence for the king
Susanne Wenger's death had no visible impact on the festival, partly because the custodian of Osun Osogbo has always been the king. The reigning Ataoja, Oba Iyiola Oyewale Matanmi III, filled the role on the day, as his forefathers did before him.
At other events with government presence, the governor is usually placed higher in the order of protocols than the traditional ruler; the governor arrives last and leaves first. Not so at Osun Osogbo. Governor Oyinlola had been seated (with Speaker Bankole and Minister Gada) hours before the arrival of the king.
The Ataoja's change from a regular crown into the once-a-year Adeosun (crown of Osun) while shielded from view by his courtiers' - and the governor's - flowing agbadas, was very dramatic. The sight of him in the crown as he went to pay homage to the river goddess, was one of the high points of the day.
The king reigned supreme at the grove, and Governor Oyinlola (a prince of Okuku town) further confirmed this by prostrating with royal princes in front of the Ataoja.
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