In the film Sacred Journeys with Bruce Feiler: “Oṣun-Oṣogbo,” two women from America journey to Oṣogbo, Nigeria to become priestesses to the river goddess Oṣun. They witness and take part in the Oṣun-Oṣogbo festival in an effort to find their roots, rediscover themselves, and re-pave their path in life. Although understanding their past and where they came from was their primary goal, the girls also wanted to visit Nigeria and show the people and practitioners of Orisha that their culture was still known and valued in other parts of the world, especially because Orisha was under attack in it’s home of Oṣogbo. The Oṣun-Oṣogbo festival demonstrates the way that the African diaspora religions have traveled, changed, and come full circle back to their birthplace though people, events, and objects.

Scholars such as Thompson and Johnson all define the African diaspora religions a little bit differently. Johnson believes that “. . . religions like Vodou, Santeria, Rastafari, and Candomble became doubly diasporic, as their practitioners in New York, Paris, London, or Miami not only look to Africa but also to the Caribbean as powerful homelands from which they are displaced.”  Johnson’s definition speaks more closely to the idea that diasporic religions were shaped by the forced and unnatural nature of the environment they were subject to, i.e. the Atlantic slave trade. During the slave trade, people all over the African continent were ripped from their homes and families, stripped of their traditions and culture, and brought to the Americas to perform slave labor. Many of these people managed to hold onto different aspects of their Yoruba culture/religion and did what they could to practice it in the Americas. The two women who visited Nigeria in this film, Alafia and Oni, have ancestors who did just that. These women represent the journey of the Orisha religion. Although the girls’ ancestors suffered immeasurably, they were able to save bits and pieces of their Yoruba culture–enough to evoke a curiosity and longing in Alafia and Oni to visit Nigeria and immerse themselves in the culture that their ancestors grew up with.

In scholarly articles about the Yoruba religion, animal sacrifices are discussed in depth as a typical offering to Yoruba deities. In the film, a chicken was sacrificed to the river goddess Oṣun. A chicken was slaughtered and the blood was poured over the head of a young man standing at the foot of the Oṣun River. He washed the blood over his head as it fell into the water as a sacrifice to Oṣun. As a final offering, the young man threw the body of the chicken into the river. Sacrificing animals is a staple of diasporic religions and the film showed a great example of a natural offering to the Orisha.

In the Oṣun-Oṣogbo festival, soundscapes and movement are a large part of the atmosphere and ritual. The rhythmic drumming, chanting, and dancing serve as veneration to the Orisha. Soundscapes are a large part of the African diaspora–music in these religions went through a great formative period during the Atlantic slave trade. Slaves used music as a way to connect to each other and get in touch with the culture they were forced to leave behind in Africa. Slaves didn’t have access to instruments so vocals became increasingly important in diasporic religions, as demonstrated in the Oṣun-Oṣogbo festival.

I believe the Oṣun-Oṣogbo festival and its portrayal in the film is a prime example of diasporic religion. It’s a wonderful demonstration of the African diaspora that offers stunning visuals and soundscapes that help viewers understand the essence of Yoruba religion. The film includes great examples (within the Oṣun-Oṣogbo festival) of objects and concepts that are typical in diasporic religions such as the journey of the Orisha religion, the sanctity of animal sacrifice, and the importance of singing, dancing, and playing music together.

Noah Stommel

After watching the film, Sacred Journeys with Bruce Feiler: “Oṣun-Oṣogbo,” it became apparent that there are many ways in which the religious practices of the Yoruba people of Nigeria have undergone mixing with non-African culture over the centuries. Of course, mixing of Oriṣa religion began on a grand scale with the slave trade, beginning in the 15^th century, as part of the larger African diaspora. With the forced immersion of Yoruba people into European-dominated cultures in the New World, Orisa religion obviously faced mixing with Christianity. Through this fusion of Yoruba religion and Christianity, the traditions of African-originating religion were often obscured and oppressed by that of domineering Europeans.

The piece “Overture: The Concept ‘Altar,’” by Robert Farris Thompson, showed how African practitioners of Oriṣa religions were disallowed by Europeans to continue their rituals. According to legend, Cuban police on one occasion “confronted four men calmly seated with Panama hats in their hands. Other men were standing. Two European dolls, apparently for children, reclined against a wall. The police could do nothing. There were no ‘pagan instruments’ for them to seize and take away, no signs of a black religion for them to persecute, as they were wont to do in the late nineteenth and early twentieth centuries” (Overture: The Concept ‘Altar’, page 21). As soon as the police left, the objects seemingly strewn around resumed their purpose in a ritual religious practice. The hats became drums, and the dolls became used again as spiritual icons. This example demonstrates aspects of transculturation, in which the process of integrating into the New World called for the adaptations of the Yoruba people’s religious practices.

It was also mentioned in Sacred Journeys that certain Catholic saints have parallel figures of significance in Yoruba culture. Certain valued religious aspects infused into Oriṣa religion from Christianity clearly shows the syncretization, or simply the combination, of Old and New World religion that has taken place over the centuries. As elaborated upon in the film, slave traders did not destroy the Yoruba religion, but rather transplanted it into other corners of the world, allowing it to grow on its own, which ultimately resulted in these hybridized beliefs and practices, with Christianity especially, that we see today.

The film also highlighted the fact that there is mixing of Oriṣa religion not just in the New World, but also still in parts of Nigeria, where Islam and Christianity clash with traditional Yoruba culture. The film mentions the fact that the presence of more globalized religion in Nigeria is threatening traditional Oriṣa practices. The public is inundated with religious propaganda that argues the benefits of converting to Christianity. The youth of Nigeria are even proselytized in school, where mainstream Christianity tries to drown out the reverence for Oriṣa.

Ultimately, this film broadened my insights into how Oriṣa religion continues to be influenced by other religions, chiefly Christianity, on both sides of the Atlantic, and how, despite the fact that Christianity exists in force both in the New World and the Old, the Oriṣa-oriented culture can be affected differently. Perhaps most importantly, this film helped to further my understanding of the resiliency of Yoruba culture throughout the recent centuries, and the lasting significance that preserved practices still have on people of all corners of the world touched by West-African influence.

Nigeria has a culture that has been constantly impacted by change from many things such as slavery, colonization, and war. Now Nigeria is going through a state of massive amounts of growth and modernization. This modernization in many other countries has resulted in more secular life that isn’t the case in Nigeria. Hybridization and syncretism have changed and shaped The Yoruba religion and evidence of this is in the Osun-Osogbo festival and in the religion’s regular practice as well.

The Yoruba Holy book Efa is known as The Encyclopedia of Yoruba Knowledge because it not only acts as a holy text but also as a way to tell the future, history, genealogy, herbal medicine,and has elements of psychology. Efa uses information from the past and is read using natural objects including sand. The practice of telling the future and the concept of viewing things in the lens of time is an integral part of Yoruba and more broadly most diasporic religions according to Paul Christopher Johnson, a professor at University of Michigan in Afro-american and African studies. Additionally, opening the mind and being open are very important in the religion according to the Yoruba priest who performs a ritual on Bruce Feiler in the . That same priest lives next to a church and feels as though he is praying to the same one god that his neighbors are worshiping even though they practice a different way. The opening of the ceremony with a beaded necklace is very similar to Rosary beads in the Catholic faith which seems to be another example of the diasporic process influencing the Yoruba tradition. However the historical significance of beads in Africa which were often times used as a commodity to trade with by the European slavers for slaves makes me question if this was a practice used before the slave trade due to the possible very negative connection associated with the beads.

Yoruba is comparable to Christianity and in fact has influenced the practice of the religion in many ways showing the diasporic nature of Yoruba as a religion. They are comparable due to in christianity there being three traditional aspects of the one god in the Father, Son, and Holy spirit and in Yoruba there is one main God, Olorun, however there are 401 aspects of the deity according to Lloyd Weaver a Yoruba Priest from the united States. As another example of how Christianity, more specifically Catholicism, and the concept of saints in the catholic church is very similar to Yoruba tradition according to Sandy Placido who teaches at American University. Having specific days for saints like saint Patrick’s day, saint Michael’s day, and many more have Yoruba counterparts of specific days of worship for specific Orisha. However, It is much different in that there are specific months for specific deities. While this may seem somewhat different than Christianity it really isn’t, when you compare the Catholic calendar it begins to look somewhat similar with ther. Yoruba has a separate calendar for the gods with 13 months and 4 days a week and a separate calendar for day to day business which is the same as the Gregorian Calendar. The usage of the Gregorian calendar is due mostly to European Christian influence and is evidence of the hybrid nature of the Yoruba culture.

The Osun-Osogobo festival’s focus on the water, cleansing, and the head all relate to the idea of being baptized in Christianity. During the Osun-Osogobo festival the is a pilgrimage to the nearby river. The crowd of people walk down to the river while walking, they all do a motion over their head in order to cleans themselves. This act of cleansing is similar to how a priest would bless a person who is being baptized before putting them into the water. Then once the crowd reaches the water they cover their heads in water and some even drink from the water in an effort to cleanse themselves. This is comparable to the act of baptizing someone except there isn’t a priest blessing everyone. The task of cleansing is done individually which differs from the Christian tradition despite the two religions having a very similar tradition. However, just because these two religions have a lot in common that doesn’t mean that they are anywhere near the same and the practices being similar shows the syncretic properties of the Yororuba religion. Paul Christopher Johnson wrote in his book “Syncretism and Hybridization” “we can agree that everything is mixed without conceding that all religions are mixtures in just the same way” (767) which illustrates the hybrid properties and syncretism that all religions display. Many religions are considered to be hybrid and the diasporic Yoruba religion certainly is quite a good example of a religion that displays many hybrid properties.

The hybrid and inclusive nature of Yoruba religious tradition is tied to many different factors however many of those factors seem to be of European origin. Despite the many European influences, the Yoruba religion still remains incredibly unique. The focus on time and change are integral to the religion and differentiate it greatly from many other religions

                          Osun-Osogbo Festival:

          A Tradition Shared Across the High Seas

   The Osun-Osogbo festival is an event where Yoruba people and descendants alike come together for a celebration of good fortune under the goddess Osun. In Yoruba culture, many different gods and goddesses are worshipped for their critical role played in guiding life. Osun is the goddess of sweet water, love, and giving. The festival honoring her lasts for a duration of 2 weeks in the western part of Nigeria, where people of all cultural backgrounds and preferences come to pay homage to Osun. With that being said, the festival is known as an African diaspora religion due to the mix of individuals present as well as their unique experiences with the Yoruba religion.

   African diaspora is the result of the mass movement of African people to the New World during the years of the Atlantic slave trade. The new communities formed in the Americas from this event created what is known as African diaspora religion, or religion that stems from several related traditions brought together by the people who practiced them. The Osun-Osogbo festival is littered with traces of African diaspora because of the idea of syncretism. Syncretism is a matter of organization and unity that occurs following the displacement of differing cultures.

The Osun Osogbo festival commences 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. Mass excitement expressed by traditionalists and non-traditionalists alike is awe-inspiring. The lighting of the lamp is the first instance of how the Osun-Osogbo festival is an example of African diaspora religion. That is due to the fact that the gathering of people who share a love of Osun are not all necessarily avid practitioners of the Yoruba lifestyle. Amazingly, the people who attend originate from several different continents! Their exposure to the religion in their respective countries brought them to the festival from near and far. Professor Badejo is a participant who traveled from the University of Baltimore in the United States. She remarks during the ceremony that, “It’s like St. Patrick’s Day, you don’t have to be Catholic to enjoy it”. The professor’s statement is telling of a diasporic nature about the festival, further proving that Yoruba culture influences people from all parts of the world.

Additionally, diasporic characteristics are found surrounding the festival from the story of Alafia and Oni. They are graduate students who make their first pilgrimage to the heart of Yoruba 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 Sacred Grove to implement their newly founded devotion. The Grove is a spiritual spot set in a dense forest intersected by a meandering river, which thousands line on the final day of the festival to cement good fortune for the coming year. The bell used by Alafia and Oni is important because in order for their prayers to be heard, they must do so loudly by ringing it. Like the two graduates and many more, practitioners of this specific culture are present at the festival to revive hopes and dreams that may have dimmed over time. Professor Paul C. Johnson, an expert on African studies from the University of Michigan, provided a definition of diasporic religion that relates to the explained reasoning behind attending. That being, diaspora as an internalized conversion of consciousness among those involved. (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 diaspora.

The Osun-Osogbo festival is a symbol of resilience among other religions that dominate the worship community. The diasporic aspects of the extended ceremony can be realized through analyzing the specific people who attend from all corners of the world. The contagious energy of the celebration is a reminder that African culture is very much alive and experiencing a sort of renaissance. Set aside your pre-conceived notions of religion, and it is easy to see the complex devotion and awesomeness that exists among Yoruba culture.

Alyssa Falco

The African Diaspora is something that is practiced very actively in Nigeria and other parts of Africa. Throughout a video of the Osun-Osogbo annual festival, is was always stated how the people of Africa were forced away from their homeland and now they chose to come back. This idea of them coming back gives them the power back as to what they may have lost by leaving. However, I believe that if you wish to practice something you do it at your own will. Even when the slaves were brought over from Africa, they still continued to practice their religion even if it was in secret. The idea of there being one God or many Gods, and depending on what that God or Gods may represent, whether you are Catholic and worship God and Jesus or you worship Osun, it is a person’s choice. In the movie the priest said “we left Africa but Africa didn’t leave us.” I find this very powerful that he has that kind of spirit and faith in his religion. The evidence is in the festival and the worship they show year round and at all times.They were given a choice when they left africa and they chose to follow or continue practicing their religion.

The Osun-Osogbo festival allows other non practicing people to be a part of their religion and to see for themselves what it means to the people who practice it. The festival is a huge part of explaining what the African Diaspora is and what it can mean. Just by watching this video and seeing how people worship Osun you can tell that they put their faith in her. The people have a sacred river that they use at their altar for the God, Osun. Here there offer animal sacrifices as a sign of their respect for Osun. This is their “temple”, where they can practice their religion and be as one with Osun. The king even comes and worships with them during the festival at this sacred river. Again allowing outsiders to know that this is their way of life and this is what these people put their faith in. In the reading “Intro to Philosophy of History” by Hegel, a philosopher who looked at the African Diaspora religion, says “Religion begins with the consciousness that there is a being higher than man.” (92). No matter how cruel Hegel may have been by threatening this religion with his words stating this religion really isn’t its own, that it was just combinations of others. This quote logically makes sense and it is very well seen that that is exactly what takes place in Africa. These people too, believe there is a higher being than man and Hegel himself is saying that that itself is a religion.

Towards the end of the video the question kept arising, “how can a church be next to a temple and coexist with one another?” How can they not is my response. Look at America, for example, we are a mix of all cultures mushed into one area. Where I grew up, in a small Vermont town, there are 3 different kinds of Christian and Catholic churches within 5 miles of each other. In the next town over there is a Jewish center across the street from a Christian church. This happens all over America. Yes, some religions may be more popular than others, however no brawls broke out in my town about what religion you prefer or what religion you practiced. The people who worship Osun have numbers, not even that, they have people who support their religion that don’t even practice it. This then makes it possible for them to be a community and live by what they believe. Along with every religion comes the idea of wanting to make yours bigger because you may be so passionate about your religion you want everybody to be a part of it, so you ask people to join and ask them to give it a try. But it shouldn’t matter who comes knocking at your door, you can chose to believe in what you wish and these people of the African Diaspora are doing just that. Their festival is known worldwide. People are aware of them, people respect them. Not only that but they believe in themselves, they worship a higher being and they will worship their being until they can’t any longer. That’s all a religion needs, followers, people who believe.

Robert Thompson talks extensively about his Afro-Atlantic altar concept throughout Face of the Gods, placing importance on material objects, significant locales of worship, and connection with Orishas, or deities. The Oṣun-Oṣogbo Festival taking place in Oṣogbo, Nigeria, reflects Thompson’s discussion of the altar concept in many ways. The festival incorporates many traditions into a multiday celebration and worship of Oṣun, one of the most important and powerful of the Yoruba Orishas.
Similar to traditional Afro-Atlantic altars, material objects have a supreme place in the celebration and build up to the festival. Cloth and textiles include elaborate patterns and eloquent designs, with each color corresponding to a different Orisha. Participants in the religious ceremonies of the festival will wear these outfits to symbolize their connection with their related Orisha. Two women from New York are depicted being indoctrinated into the Yoruba faith during the film, Sacred Journeys. Their multiday ceremony takes place both in public and in private, with the transformation occurring after days of seclusion with holy priests and priestesses. Upon indoctrination, the women don elaborate clothing and sacred crowns, which signify their completion of the ceremony. They then make their way to the banks of the Oṣun, where they officially become members of the Yoruba faith. Their intensive indoctrination process allows them to better understand and honor their faith.
Other material objects closely associated with the festival include ceremonial bells. Small and portable, participants will ring these bells to help connect them to the gods while praying. Similar to altars found on both sides of the Atlantic, small sacrifices of food and drink, such as fried foods, gin and cola, are offered to Oṣun.
One of the central components of the festival is the march from Oṣogbo to the Oṣun river, which surrounds a young virgin woman who carries the main sacrifice to the riverbank. The woman’s ceremonial preparation is long and intensive, she is kept sheltered away from the outside world for weeks before the ceremony. The preparation of the young woman is led by the high priestess, who lives in a temple reflecting the sacred grove of the Oṣun river. As Thompson said, “Yoruba building altars thus construct a face/surface/door, a complex threshold for communication with the other world,” (Thompson 30). The high priestess’s home and secluded staging ground for the young woman’s training is rife with symbolic connections to Yoruba faith and to Oṣun. The young woman’s connection to Oṣun is sacred and powerful after this intense ritualistic experience. In the days leading up to the festival, she, along with many other priests and priestesses, make final preparations and prayers, often in hot, crowded rooms in order to closely connect with Oṣun. These rituals, along with the ceremonial bells and intricate fabrics, help Yoruba devotees to bridge the divide between the gods and the mortal world.
In the film, host Bruce Feiler visits a Yoruba priest in order to have his prayer heard. Feiler notes the close, personal relationship induced by the environment of the Priest’s temple. Feiler also comments on the closeness of the sacred objects of the Yoruba religion, in fact, he holds these objects and touches them to his head and chest while making his prayer. This personal, tight-knit atmosphere allows Feiler and other worshippers to better focus on the divine, and connect with the gods so that they may hear their prayers.
The atmosphere of the festival is largely communal and jovial. City residents of Oṣogbo and pilgrims alike partake in a celebration full of food, music, laughter, and dance, culminating in the march down to the river. The festival includes both religious ceremonies and exciting festivities throughout its duration. The main tenets of the festival closely reflect Thompson’s altar concept, placing importance on material objects, communal worship, closeness with the divine, and an opportunity to honor and connect with Oṣun, so that she may hear one’s prayers.