• In what way is Oṣun-Oṣogbo festival an example of an African diaspora religion? What specific people, events, or objects make you think that?

The Osun-Osogbo festival is an event where Yoruban peoples and descendants alike come together for a celebration of good fortune under the goddess Osun. The festival lasts for a duration of 2 weeks in August in Osun State of Nigeria, where people of all cultural backgrounds and preferences come to honor the goddess through a series of traditions and practices. First to understand the festival in context, individual parts of it must be analyzed.

The festival begins with the lighting of an ancient lamp that represents the goddess Osun and the kingdoms that persist in the heart of Yoruba land. The town surrounds the lamp in the form of glee, dance, and music under Osun. The excitement expressed by traditionalist and non-traditionalists alike is just a hint at the festivities that are to come. The lighting of the lamp is the first example of how the Osun-Osogbo festival is an example of African diaspora religion. The gathering of people who share a love of Osun are not all necessarily avid practitioners of the Yoruban lifestyle. In fact, the people who attend originate from a multitude of places including the United States. However, their exposure to the religion in their respective countries brought them to the festival in Western Nigeria. Professor Badejo of the University of Baltimore remarks during the ceremony that, “You don’t have to be Catholic to celebrate St. Patrick’s Day”. This parallel offers insight to the varying degrees of people who take part in Osun-Osogbo.

A further example of Osun-Osogbo festival’s diasporic characteristics is the story of Alafia and Oni, two college graduates who make their first pilgrimage to the sacred Yoruban land to gain status as priestesses. In days, they transform themselves into a “bridge” between the real world and the goddess Osun. They use various objects such as the Bell of Osun in prayer beside the grove where the final day of the festival commences. The bell is just one of many instruments and tools that carry spiritual significance used by the Yoruban people to call to their desired deity. Prospective practitioners of this specific culture attend the festival to revive hopes and dreams that may have dimmed over time. Johnson’s second definition of diasporic religions relates to the reasoning behind attending the event. That being diaspora as an internalized conversion of consciousness (pg. 518 para 3). Alafia and Oni traveled to Nigeria to take part in a conversion of their mindset, an adoption of a new way of life. In essence, they embody the very definition of diasporic religion.

The Osun-Osogbo festival is a symbol of resilience among other religions that dominate the worship community. The contagious energy of the celebration is a reminder that African culture is very much alive and experiencing a sort of renaissance. The Yoruba tradition is very welcoming, more so than other religions are to it, which represents a struggle felt by African traditionalists in history. Set aside your pre-conceived notions of religion, and it is easy to see the complex devotion and awesomeness that exists among Yoruban people.