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Tag: Igogo Festival

  • Owo agog, as Olowo unveils Oronshen statue at Igogo festival

    Owo agog, as Olowo unveils Oronshen statue at Igogo festival

    It was celebration unending this year, as the Olowo of Owo, Oba Gbadegeshin Ajibade Ogunoye III, yet again led his people in celebration of the annual Igogo festival. Taiwo Abiodun reports that this year’s celebration also witnessed the unveiling of the Oronshen statue.

    Fear had gripped  the whole of Owo Kingdom in Ondo State, especially the chiefs and Owo indigenes in Diaspora. This was due to the assumption that the annual Igogo festival, Owo’s Festival of Love, would not be holding this year. This was because  His Royal Majesty, the  Ojomo Oluda  of Ijebu- Owo, Oba  Kofoworola Oladoyinbo Aruliwo III  had gone to court to restrain the Olowo of Owo, His Imperial Majesty,  Oba Gbadegeshin Ajibade Ogunoye III from leading the annual procession to Ijebu-Owo market to perform the 500-year-old ritual. Fortune, however, smiled on the kingdom, when the court turned down the Ojomo Oluda’s prayers and asked the Olowo and his Chiefs  to proceed  with the festival unrestricted.

    The court’s decision sent wild jubilation across Owo and among its indigenes in Diaspora.

    Before the disagreement that led to the court case, the two royal fathers, who are  historical blood brothers, had  celebrated  the festival of love together  and had good relationship.

    In the words of the Olowo, “The Ojomo went to court to obtain an injunction that Ijebu is never a part of Owo and has no relationship with Igogo festival, and that Ijebu celebrates only Ogun festival. But the court ruled that they cannot restrain me and that this Igogo  festival has been on, even  before the creation of Ondo State and that Ijebu market is a public place.”

    Olowo ‘s moment of joy

    That said, this year’s festival attracted more visitors and tourists than envisaged.  The  festival’ s chief celebrant,  Olowo Ogunoye III, was  dressed in  a rare expensive  costume and specially-made beads called Sesekiakon. Additionally, he was armed with a special sword (Udamaloore ), attached to his immaculate white skirt meant exclusively  for a respected and powerful king  of his status .

    Naturally, his neck and wrists were bedecked with assorted yet unique coral beads, which are symbols of  honour, royalty, authority while three Urere Okin (Peacock feathers ) were  tucked in his plaited  hair. In his hand was a shining gold metal  gong, which he clanked at intervals, as the entourage sang along. For those who do not look close enough,  the royal father could be mistaken for a female in his immaculate whirling skirt, as he pranced around like a skilled dancer.

    The monarch indeed epitomised the rich culture, wealth cum beauty and  glamour  of the ancient kingdom. His chiefs and subjects were ecstatic, as they chanted panegyrics and showered prayers on him amidst thunderous shouts of ‘Ologho Baba oooo  Waaarehinodi ( Olowo our father , You will conquer your enemies ).

    The monarch  along with his retinue of chiefs, kinsmen and well-wishers danced in a procession from his  palace to Ijebu- Market to perform the usual rites and prayers for the progress and peaceful co -existence of the town.

    History of the festival

    According to the Monarch , the celebration took roots over 500 years ago, when the first Olowo Rerengenjen   married a strange woman, Oronshen, whom he had met when he went on a hunting expedition. The Monarch had married her because of her beauty. However, Oronshen, before consenting, read out her ‘dos and don’ts’ to the king, which included that ‘firewood should never be thrown before her, okra must not be prepared in her presence and water must not be splashed before her very eyes;’  all of which the king agreed to, including keeping her secrets. Aside these, Oronshen excreted expensive coral beads, which made the town become prosperous  in wealth. However, the other wives of the king became jealous of her and devised means to uncovering her secrets. So they got the monarch drunk and craftily made him reveal Oronshen’s secret taboos . Then one day when the king went out, the other wives broke the taboos, throwing firewood, splashing water and  grinding okra in her presence.

    This infuriated the woman and she hurriedly ran out of the palace.

    When  the  King returned and discovered what happened, he was angry with his wives; he then called the palace guards ( Ayoyo) who went after the woman. As they went searching, they came to a place where they found her fallen headgear, and through it, traced her to a bush now called UgbóLaja ( Ulaja forest).The king begged her to return, but Oronshen’s voice was heard saying she could not come back, although she vowed to perpetually be of assistance to the town and ensure its progress, on the condition that the king celebrates her every  year.

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    Oba Ogunoye explained that this is why the festival is known as a celebration of Love. To herald the festival, announcements are usually made – leather drums must not be beaten, caps must not be worn by men, and there must be no shooting of guns.

    The name Igogo, derives from the use of iron metal in place of drums.

    Oronshen statue

    As a way of further entrenching the festival and story behind it, the monarch this year, unveiled the Oroshen statue in the town.

    Oba Ogunoye said: “The idea came to my mind that we should take practical action on our cultural/tradition physically, not just through stories, to internalise it. The statue shows the beauty of the famed wife of the Olowo as history describes her. “

    Biodun Omolayo (Wahab) the Chief Creative Officer at Omolayo Gallery, Lagos and a well known international artist, described the statue thus: “The elegance, beauty and regality are well captured in the sculpture. Aside from being a queen and a deity, she is the symbolism of love, and the total beauty of the Owo woman.”

    According to Omolayo, the statue is comparable to others of international repute such as that of Queen Elizabeth III by the late Ben Enwonwu , Queen Amina by Ben Ekanem at the National Arts Theatre (now Wole Soyinka Centre); bringing to life the nature and character of Queen Oronshen, whose story has been told since time immemorial.

    According to the Olunaun of Unaun, Prince Olanrewaju Abegunde, himself a historian, this year’s Igogo festival will go down as the best in recent memory.  “The Igogo festival showcases virgins who  wear beads. In the days of yore, the virgins left their upper chest bare and wore only beads as underwear; but today we have changed everything,  as they now wear beads  on top of their dresses as an indication that they’re still virgins.”

    He also emphasised that: “We don’t use human being as sacrifice anymore like in the days of yore ; we use animals, of which the chief Priest of Igogo  festival, Wande Ajana is in charge. Prayers are offered to the community and people for peace, love and progress.”

    Tourism booster

    During this period, Owo Cultural Ambassador,  Tunde Onibode, said businesses boom in the town while assorted beads, souvenirs, arts and crafts sell briskly. There are also other side attractions such as traditional wrestling, Oronshen Beauty Contest, Ayo game, football match among others.  Patricia Adedolapo Aragun Ogunoye emerged as this year’s Miss Oronshen.

    Speaking on the tourism benefits, Onibode said: “Over 30 Owo indigenes in diaspora came home to celebrate with the Olowo of Owo, while the town also received visitors from all over Nigeria.”

    President of World Council of Owo Associations  (WOCOA), USA, Bayo Ogunmolawa,  who travelled all the way to Nigeria from St. Louis , Missouri , USA,  to attend the festival said: “Over 100 Owo indigenes living abroad were present. After 40 years of absence, I witnessed the Igogo Festival and I couldn’t believe  what I have missed all these years. As indigenes in diaspora, we will try our best to bring in foreigners and turn Owo into a globally renowned tourist town.”

    Igogo’s satiric innuendos

    Chief Sunday Olamiju Olawoye (the Ajewole Ogwamaiye of Owo kingdom) who resides in Lagos but travels to Owo every year to be part of the festival, said: “This is my 30th year of celebrating Igogo Festival . We sing abusive, folkloric and innuendo music laced with proverbs and morals. For example, we would sing and mention names of those who stole tubers of yam or who snatched other people’s wives or husbands  or who did certain wrong things during the year. Many who come for the festival actually come to listen to Igogo songs to know those targeted by the songs. All manners of songs are rendered while we would be hitting the ground with sticks, which replace the drums. But the music will not go beyond the festival period. We also kill cows and cook food for everybody to eat and entertain visitors. In fact,  we exchange gift items. It is a period of expressing love to friends and family members.”

    Messrs. Ahmed Murtala and Mathew Obajuluwa who is Oluode (leader of hunters) of Ijebu-Owo who  both witnessed the festival, appealed to the two royal fathers (Ojomo and Olowo) to sheath their swords  and cooperate in other to move the town forward.

  • Crisis looms in Owo over annual Igogo festival

    Crisis looms in Owo over annual Igogo festival

    A crisis is looming in Owo in Owo local government area over the celebration of this year’s Igogo festival.

    Residents in the Ijebu-Owo community have cautioned Owo residents not to take the celebration of the festival to their domain.

    According to them, their monarch, Oba Kofoworola Olatunbosun, Ojomo Aruliwo III, would not participate in the festival.

    Igogo festival is an annual event celebrated in Owo to honour Queen Oronsen, a mythical wife of Renrengejen.

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    The stakeholders which included the Ojomo in-Council, Ijebu-Owo Progressive Union, and youths and women in Ijebu-Owo said they have written to the State Government and relevant security agencies on the need for caution in the celebration of the 2023 Igogo festival.

    They said the letter was to alert the state government and the security agencies of looming security breaches that could happen on the alleged insistence of taking the celebration to Ijebu kingdom.

    The statement said their monarch, Olijebu of Ijebu-Owo, remained resolute that the community would not participate in the festival in the interest of peaceful coexistence.

    It said: “Ijebu-Owo is an autonomous community and one of the nine towns that make up the present day Owo Local Government Area of Ondo State and the Prescribed Authority over Ijebu-Owo is Oba (HRM) Major General Olatunbosun Kofoworola Oladoyinbo, the Aruliwo III, the Ojomo Oluda of Ijebu–Owo”.

    “It is cogent to inform you that Igogo Festival is not alien to Ijebu-Owo but it is NOT mandatory for Ijebu-Owo town to partake in the celebration of Igogo festival as the traditional rites are limited to Owo town.

    “The activities of Ijebu-Owo people in the celebration of Igogo festival is mere that of solidarity and friendship as the main traditional festival in Ijebu-Owo is Ogun festival from time immemorial.”

  • When Owo Town stood still for Igogo Festival

    When Owo Town stood still for Igogo Festival

    This year’s Igogo festival may have come and gone, but the memory of the frenzy, the celebration and the display of love and generosity linger. Taiwo Abiodun reports

    Armed  with a  shining silver-metal  gong and  surrounded by  his retinue of chiefs, royal  family  members, well-wishers, princes  and princesses, all in joyful mood, you could tell that this was another special day in the life of the Olowo of Owo and his people. His Imperial Majesty Oba (Dr)   David Victor Folagbade Olateru-Olagbegi III (CFR) was decked in his fully customised beaded ‘Ewu Okun’ royal dress, while his braided head was decorated with four sparkling white feathers (Urere Okin). Beneath his ‘skirt’ is a traditional sword (Udamaloore), an age-long a symbol of royalty.

    Although the ‘skirt’ along with the plaited hair are usually symbolic of the female gender, even as he danced with the dexterity of a skilled dancer, it was all for culture and the annual Igogo festival. At the King’s Market (Oja Oba), he clanked his silver iron metal as he led traditional songs with his velvet voice, while chiefs followed with the chorus.

    The spectators were wild with excitement. Shouts of ‘Ologho! Baba o!  Orisa  ma dimi s’Ologho, tu wa pe ghin waaa!’ (May we not offend you, Long live our monarch!) rent the air; the chiefs, well-wishers and townsmen responded with a roar of  ‘ Baba O!’  As he performed the usual rites in the full glare of the over 50,000 spectators, the olowo danced with the Chiefs Akowaloja and Niran Osuporu.

    Thereafter, he prayed for the community and danced seven times with the Akowa – a High Chief and   leader of the Iloro Quarters along with other chiefs.

    Hunters and new chiefs add glamour

    Oluode (head of Hunters) of Owo Kingdom, High Chief Aderobagun Dada added glamour to the whole affair, as he danced round the ancient town with the effigies of two half-clad women. The effigies, with their plaited hair and pointed breasts symbolise virginity. Dada said he was the first traditional hunter to participate in the festival since 1977. “I am the head of hunters in Owo Kingdom, and it is a known fact that this is the first time we hunters will be participating in the festival.”

    Other new High Chiefs like Sasere, Ojumu, Osuporu, Elerewe, Oshere were not left out as they all participated with glamour.

    His Highness, Adedapo Sulaimon (the Baale of Okemade) described the occasion as ‘the gathering of high chief heavyweights.

    Prayer time

    In the evening, prayers were offered by the town’s chief priest, High Chief Michael Adelanke Ajana. He offered some sacrifices and prayed for the monarch’s long life, as well as that of the townsmen. According to High Chief Niran Osuporu, a historian who is well-versed in the Owo culture and tradition, “It is not the duty of the Olowo to perform rituals; but that of the chief priest, Ajana, who is the traditional spiritual head of the town. You can see that there is nothing secret about it; everything is done in the open, with hundreds of people watching.”

    As way of preserving the festival, Olunaun of Unaun, Olanrewaju Abegunde recommended that the prayers be embedded in the school curriculum and taught in schools. .

    Owo culture

    High Chief Ilori Tunde Elerewe, who decorated his wrists and ankles with beads said, “Owo and Benin have a similar culture, when it comes to wearing beads.” Elerewe, who was only recently installed to occupy his forefather’s stool, reportedly slaughtered two cows to fete his over 5,000 visitors and guests. In his opinion, the Igogo festival is first class among festivals in Yoruba-land.

    The village head of Ago Panu, Chief Mayor Awoniyi Obabiire, the Ologudu of Ogudu, Owo, suspended his tours, having vowed never to miss the festival.  Describing the festival, he said ”In this festive period, the male chiefs would make-up and dress like a woman, caps would not be worn by men and there would not be  booming of the guns while the beating of leather drum is also forbidden.”

    For keeping the tradition, Obabiire said, “We feel gratified and somehow elated for this year’s festival and I seize this opportunity to thank Kabiyesi who has been toiling day and night to see to the improvement and progress of Owo town.”

    High Chief Oludoro Olanrewaju Onisile also danced round the town in his beads with his friends and family members; so also Chief Samuel Oronbato, who was an interesting sight, as he pranced about as if in a trance. As a matter of fact many took him for a woman in his costume, as he wriggled his waist to the admiration of all.

    Not to be left out, the first female chief, 96-year-old Chief (Madam) Christiana Famolagun, prepared food in her compound and entertained her visitors.

    Tunde Onibode, who makes it a point of duty to attend all Yoruba festivals, said, “2017 is a success, we must build on it to achieve better outing in the future; this is a great tourist earner, if well-harnessed .As a community we must value our culture and ensure that it is guided jealousy to prevent it from going into extinction .The government should support it so as to attract foreigners who love culture, while private organisations should support it.”

    Femidayo Ogunmola, who facilitated the sponsorship of the raffle draw contest, said, “We must support our king, we cannot leave everything to him. Olowo is a man of culture.”

    Obafemiloye Adeyeri of Isuada, an engineer said he had to close his workshop to attend the festival,

    Not a fetish festival 

    In apparent response to pastors, who have been denouncing the festival as fetish, Olunaun said,”Igogo festival is not fetish; nobody uses human being for sacrifices and all things are usually done in the public glare. What of Osun Osogbo that attracts people all over the world? We have our tradition and culture. Yoruba culture has spread beyond Nigeria.

    To buttress the Olunaun’s point, Chief Elerewe said, “This is a festival of love, whereby we exchange gifts and visit friends and family members. It is a festival where husbands meet their wives and wives meet their husbands. It is our own Valentine festival.”

    How Igogo festival started 

    The Igogo festival, according to High Chief Adeniyi Adewole aka Enudunjuyo, who is the Eminiken of Owo Kingdom, the festival took roots over 600 years ago during the reign of Olowo Regenjen, whose mysterious and beautiful wife, Oronsen, was pushed out of the palace by jealous co-wives. Oronsen, it was said, excreted expensive coral beads, which made the kingdom prosperous and endeared her to the king’s heart. This of course instigated jealousy and the rival wives broke things that were taboo to her, causing her to leave the town in annoyance for Ugbolaja (Ulaja Forest).

    She never returned to the palace, even after the king sent emissaries to plead with her, but instructed the king to be observing an annual festival in her memory. During that festival, no one is to wear caps or head ties and none should shoot guns or beat leather drums.

    High Chief Henry Oladiipo Ogwatowose, who plaited his hair for the celebration, expressed delight at how the festival has continued to grow, attracting tourists from far-flung places.

    Visitors 

    One of the august visitors was Prince Lawrence Loye, the Obaloye Adimula of Ijebu-Ijesa, who confessed that he had never seen such a unique festival.

    Another visitor, Hon.Femi Murtala Ahmed exclaimed, “You can see the huge crowd coming to the town to be part of the festival. Many came from the United States, like my friend, John Watson; and some from the United Kingdom and Brazil. It has become a huge tourist attraction and now, we want the federal and state governments to put their weight behind it and promote the igogo festival like they’ve done the Osun Osogbo festival.”

    Moral Songs 

    According to High Chief Adeniyi Adewole (the Eminiken  of Owo) and Mrs Morenike Ogunseitan, a major high point of the festival is the abusive songs, composed and sung to teach morals and correct ills in society. But Morenike was quick to put a caveat, “All abusive songs are just temporal and after the festival, no one sings them again. They are sung to teach morals and correct ills.”

  • When Owo town stood still for Igogo festival

    When Owo town stood still for Igogo festival

    The annual Igogo festival held recently in ancient Owo town in Ondo State, was a spectacle both for the natives and  local and international tourists who thronged the town. Taiwo Abiodun reports.

    THERE were over 2,000 men, aged between 40 and early 70s; and they belonged to three traditional age-grades. Most of them were half-clad, with some bare-chested tying only traditionally-woven wrappers around their waste. The fairly old ones held two buffalo horns, which they struck intermittently to create sounds. The second set, a bit younger, held iron metal gongs, which they also struck to produce sounds, while the youngest group was ‘armed’ with long canes, which they swung threateningly in the air.

    Septuagenarian, Samuel Olayiwola Ogunleye (aka Musese), a native of Owo and an active member of one of the groups, said the group of men are called Ayoyo. He said the ayoyo comprises the Ologho (the buffalo’s horn careers), the Eletenten (metal gong careers) and the Kaya (cane careers). He explained that there is a traditional progression amongst the groups, with the men in Kaya moving to Eletenten and then to Ologho; and that they normally come out during the Igogo festival to perform their traditional roles, as customs demand.”

    The men sang, danced and rejoiced, as they returned from Ugbo Ulaja (Ulaja bush), where they had ‘seen’ Oronsen’s headgear, whilst she was running away from the palace. Oronsen was a famed wife of one-time Olowo Rengenjen , with lots of tradition around her. They were celebrating and rejoicing for witnessing another year’s festival.

    Musese explained that the men make sounds with their various items because leather drums are forbidden at the Igogo festival. In nine years, he said, “We in Ologho group will celebrate our age grade while the other group (Eletenten) will be promoted upward to Ologho.”

    Prayers

    In the evening, prayers and sacrifices were offered by the town’s chief priest, High Chief Michael Adelanke Ajana, for long life for the monarch, townsmen and women; and general progress of the community. Each prayer request by the priest was followed by a thunderous “Aaasseeeee.” According to Ilori Tunde Elerewe, an historian versatile in the Owo culture and tradition, “It is not the job of the Olowo of Owo (the monarch) to perform rituals, but that of the chief priest, who is the spiritual head of the town.

    The royal dance

    Armed with a shining silver-metal gong and accompanied by his retinue of chiefs, amongst them, Babatunde Olugbade, Tola Ogwatowose, royal family members and princes and princesses, the monarch, Oba David Victor Folagbade Olateru-Olagbegi III emerged in his fully customised beaded ‘Ewu Okun’ royal dress. His hair was braided and decorated with four sparkling white feathers (Urere Okin. Attached to his ‘skirt’ was a traditional sword symbolising royalty. Oba Olateru-Olagbegi walked majestically, beaming with smiles. Not long after, he was cited, dancing, albeit skilfully. At the Oja Oba Market, the Oba clanked his silver gong, as he led traditional songs with his velvet voice while his chiefs followed in chorus.

    With this performance, Musese said the monarch dismissed the rumour that he was no longer interested in the festival.

    Hon. Yinka Osho, another prominent indigene of the ancient town, expressed delight at how well the people participated in the festival, which he described as a festival of love. “I love the Olowo of Owo, for he shows love to all and sundry; and that is why I decided not to spend my holiday in the United Kingdom but here with my family and people. We must invest in our festivals and attract tourists to them.”

    The dress code

    The Igogo, celebrated annually, is a three-week festival held in memory of Olowo Regenjen’s wife, Oronsen. Olowo Rengenjen ruled the ancient town about 600 years ago. During the festivities, the male chiefs make-up and dress like a woman; caps are not to be worn by the men; no booming of the guns or beating of leather drums. Only the Olorisas (goddess worshippers) are permitted to beat their special drum called ‘Osuji’ at the palace.

    Cultural Ambassador of the town, Tunde Onibode, explained that “men temporarily ‘transform’ into women during the festival, wearing women costumes, plaiting their hair or putting on wigs. They also pad up their chest and buttocks to further enhance the female look and mannerisms to mimic and honour Oronson.

    One of the chiefs, Chief Samuel Oronbato was literally taken for a woman by the viewing public, as he pranced in his female costume. Amidst the celebration, he told this reporter that he has never for one year missed the festival since his instalment as chief in 1973.

    A festival of didactic songs

    According to High Chief Adeniyi Adewole (Chief Eminiken of Owo) the Igogo festival also serves as a medium for moral songs, designed to correct societal ills. Shortly before the festival, Eminiken explained that the natives would go round the town to watch and listen to what was happening and compose songs to condemn or encourage.”

    As a testimony, a man alleged to have been having canal knowledge of his daughter (whom the daughter later reported to the police) was caught and publicly flogged by men of the Ayoyo group. They also composed and sang of the man’s deplorable act to warn others to desist.

    This is our own Valentine

    Prince Segun Ogunoye, who is the Chief Asawo of Unaun in Owo Kingdom, said the festival unites the kingdom. “It revolves around love and our parents seize the opportunity to look for their spouses. That is why we call it our own Valentine. In fact it was courtesy of the festival that many married their spouses.”

    He however debunked insinuations of fetishism surrounding the festival. “We pray during the festival. We pray to our ancestors, we pray for the progress of the town and for everybody to unite. It is full of prayer and nothing else. No human sacrifices.”

    All through the duration of the festival, people ate, drank, danced and exchanged gifts in an atmosphere of sheer fun and excitement. Local musicians sang songs of love laced with panegyrics, proverbs and wisdom to entertain visitors who had come from far and near.

    Stray animals fall prey to the special celebrators (the Ayoyo group), who confiscate and slaughter them, hence  pet owners are inclined to keep them away from the streets at this time.

    In the past, Ilori Elerewe said maidens turned out bare-chested, their pointed breast, serving as attraction to potential suitors. This part of the culture has however been jettisoned due to civilisation; same for the sacrifice of slaves. The maidens however still parade, though in fashionable dresses and hairstyles.

    The aged also looked on with fascination, though their feeble bones and lean purse no longer permit them to actively participate in the activities. 94-year-old Chief (Madam) Christiana Famulagun was one of such. But she still celebrated and entertained visitors in her home with food and drinks.

    Another of such chiefs, Olusesi Osenepen, also entertained visitors both at home and at the palace, but lamented that his lean purse has seriously curtailed expenses.

    Genesis of Igogo festival

    The festival started over 600 years ago during the reign of Olowo Regenjen, who married a mysterious woman, Oronsen, whom he loved dearly more than his other wives because of her beauty and contribution to the progress of the town. Stories had it that she used to excrete expensive coral beads, of which the monarch used and even sold and which brought prosperity to the town.

    She however warned Olowo Rengenjen of her taboos, which were that they should not throw firewood in her presence; no one should grind okra before her and no man born of a woman should splash water in her presence. The monarch was however tricked by one of his queens to reveal the (taboo) secrets. One day the king went on a hunting expedition, which gave the wives who had been jealous of Queen Oronsen the opportunity to break the taboo, causing her to fled to Ugbolaja (Ulaja forest), where she wept uncontrollably. When the Olowo returned and learnt of the incident, he got angry and ordered the palace guards to go search for her. They however came back only with her head tie and reported that they only heard her voice in the forest. Despite pleadings, she refused to return to the palace, but instructed the king to observe the festival in remembrance of her.

    A tourists’ spectacle

    The State’s Commissioner for Culture, Femi Adekanmbi, was on hand to witness the festivities; same for Mrs. Bola Tunde-Suara, her hair regally plaited, who said she had to be more active in the celebration since her mother (Chief Famulagun) could no longer join the monarch in the annual celebration. “I have never missed the festival since my mother became chief in 1964.” She said.

    Cultural Ambassador Onibode, who is of the Kaya group said “I am a lover of Culture. I was in Porto Novo to celebrate Sango Festival; I was also in Oyo to celebrate Oranyan festival and I’m here live to celebrate my town’s festival, which is one of the richest in Yoruba land.”

    Other notable personalities who graced the celebration includes High Chief Henry Oladipo Ogwatowose and High Chief Akinsote Adetula, the newly installed Sasere of Owo, who lives in the United States of America but came all the way home to witness the festivities. There was also Prince Lawrence Loye, the Obaloye Adimuka of Ijebu-Ijesa, who said he came from Edo to witness the festival. He confessed that it was his first time at the festival and that he had never seen such a unique festival before. He testified to the visible show of love in the atmosphere and jocularly asked if he could get a new wife to take home as a souvenir.

    Side attractions were traditional wrestling matches (ugbama), Ayo game, with winners attracting prizes.

  • Spectacle as Owo celebrates Igogo festival

    Spectacle as Owo celebrates Igogo festival

    The men wore traditional attires. The women danced and sang the praise of their king. There was exchange of gifts. It was a rich display of culture as Owo indigenes thronged the town from within and outside the country for this year’s Igogo Festival. TAIWO ABIODUN reports.

    THERE was a loud ovation as he came out in his royal regalia. Clad in a beaded regalia, Ewu  Okun, the monarch had four white feathers (Urere Okin) attached to his  plaited hair.

    With coral royal beads on his neck, ankles and wrists, he danced skilfully to the admiration of his subjects. He also had with him his traditional sword (uda maloore), his shining metal gong and a retinue of his chiefs.

    It was the 2015 Igogo Festival and the Olowo of Owo, Oba David Victor Folagbade Olateru-Olagbegi III, came out to be part of it all.

    Some climbed trees and rooftops. Others stood on brick fences and on vehicles as they struggled to have a glimpse of their monarch.

    It was a spectacle to behold as the monarch led traditional chants, with his chiefs chorusing. At intervals, High  Chief  Adeniyi Adewole, the Chief  Eminiken  of Owo,  would  raise his  voice in praises, chanting  panegyrics, such as Ologho! Baba o!  Orisa  ma  dimi s’Ologho,  tu wa pe hin waaa!”, meaning “Long  live  our  King!” The crowd would  respond “Baba O!”.

    Some titled  chiefs – both male and female – plaited their hair. Dressed in women  attires, they danced round the town visiting  their  friends and family members.

    Other chiefs wore wigs and  decorated their necks  and  ankles  with  coral  beads. There was no beating of the leather drum, or gunshots. Caps and head ties were forbidden, only the clanging of iron was allowed.

    Though it lacks the entertainment condiments used in spicing up most festivals, the traditional fiesta continues to feature diverse spectacles and a growing crowd. The yearly festival has become a season of union for the people of Owoland; this year’s edition was no different. It drew many from across the country and abroad.

     

    Festival history

     

    “The Igogo Festival has been in existence for over 600 years. It shows the cultural values that we have for our town. We call it a festival of love. During the period, we exchange gifts. It is an opportunity for those who are far and near to come home and see their parents, friends and beloved ones, and spread love,” the Olowo of Owo said.

    According to the him, the festival began during the reign of Olowo Regenjen. It was held in remembrance of Queen Oronsen, a mysterious woman who was loved by the king more than his other wives because of her beauty and her contribution to the progress of the town. Oral tradition has it that she used to excrete expensive coral beads of which the king used and even sold and which made the town to progress.

    As instructed, men are not to wear caps or women head-ties during the period. There is no shooting of gun and no beating of leather drums also.

     

    Dance at the market

     

    One of the rites of the festival is dancing in market by the monarch. This year, the Olowo danced to the Oja Oba (King’s Market), followed by a huge crowd. He danced seven times with the Akowa, a High Chief and spiritual leader of Iloro Quarters. During the ceremony, market women came out en masse to honour the king. In the evening of that day, a big ram was offered for sacrifice in replacement of human sacrifice used in the days of yore.

    According to Oba Olateru-Olagbegi, Igogo is a festival of peace. A few weeks before the festival, there were rumours that the monarch had jettisoned the festival because of his strong Christian faith.

    The monarch said there had been no attempt to stop the festival, saying:  “Igogo is part of our culture and we pray for the progress of everybody during the festival. It is a period when we preach peace because it is a festival of love.”

    On his part, Prince Lanre Olateru–Olagbegi said they were working on modalities to make the Igodo Festival one of Nigeria’s largest, like the Osun and Calabar festivals.

    One of the side attractions of the festival was 93-year-old Chief Fehintola Famulagun, who, despite her advanced age and health, said she would not miss celebrating the festival with her family. Even though she could no longer go out and dance round the town, Chief Famulagun said: “The festival is important and has to be observed. This is my 54th year I am celebrating it. I have vowed that it must be done. I have never missed the festival since I became chief in 1964. I am among the oldest chiefs that partake in this festival.”

    Like Chief Famulagun, the festival is dear to the hearts of the indigenes, especially those in Diaspora. Mr Tunde Onibode, who  flew  in from  abroad  and  facilitated the Omega  Schnapps sponsorship whereby drinks were offered freely at the palace,  called for government’s support. This, he said would make it richer and bigger.

     

    Dance of bare-chested men

     

    Another attraction at the festival was the display by the Iloro  Quarter  men, called the Ighares.  Half-naked  with  white  caps  on, they danced  round some  areas  in  the  ancient  town. Some held two dried horns of buffalo with which they struck each other. In  place  of  leather  drum,  they clung iron metals,  sang   songs  of  love   laced  with  proverbs  and  chanted  panegyrics  as  they  wriggled  their  waists.

    During their performance, a goat  that  strayed into the exclusive zone, crossed past  them was  chased, caught and became their delicacy. According  to  one  of  the  participants,  any  animal  that  passes during their performance would  be “arrested”  and  slaughtered as  their  sacrificial meat.

    The  aged  chiefs with feeble legs who  could  no  longer go  out celebrated in their homes.  They  cooked food and entertained visitors. Infact, some chiefs who were sick managed to participate. One of them, Chief Olusesi Osenepen, in his royal dress, said he left the hospital bed immediately he was discharged to  participate  in the  festival.

    His words:“I am happy that I am celebrating with Kabiyesi. I was sick but now I’m better.“

     

  • Owo celebrates Igogo festival

    Owo celebrates Igogo festival

    The annual Igogo Festival was celebrated in a low key due to the Ebola disease, Taiwo Abiodun was there 

    It was a royal dance by the Owo monarch, Oba David Folagbade Olateru Olagbegi. Yet, there was no drumming except the clanging of iron metals. Decked in full traditional attire – customised beaded ewu okun woven cloth atop a big skirt – with four white feathers (urere okin,) attached to his hair, Oba Olagbegi stepped out elegantly  from his palace with a smile and danced to Oja Oba Market.

    The monarch was accompanied by the retinue of chiefs  and well wishers, who showered praises and panegyrics on him.When the monarch would lead a song  his followers would go into frenzy and sing in chorus. All the  chiefs   would hail him,  saying ‘Ologho Baba o! Orisa ma dimi s’Ologho,  tu wa pe ghin waaa!.’ (Long live our monarch! ) .

    The event was the annual Igogo Festival held recently at Owo, Ondo State.

    This year’s festival was celebrated in a low key following the outbreak of Ebola disease.   While some of the chiefs celebrated the festival at home and exchanged pleasantries and gifts others danced round the town.

    The annual Igogo festival which showcased the culture and tradition of Owo means different things to different people. Some call it  festival of love, others  call it the Queen’s festival, while a few others call it festival of unity. It is a only unifying festival that brings men and women together irrespective of their differences and political affiliations. it is over 500 years old.

    Owo was agog as old and young, males and females set aside their political differences to dance round the town exchanging greetings and gifts with one another. Children, youths and elders were all ‘armed’ with long sticks painted in different colours. The sticks were used to replace leather drums as they were hitting them on the ground to produce sound in replacement of drums (drumming is forbidden during this period) and singing all kinds of songs.

    The male chiefs who were also participants could  be mistaken for women because of the false breasts padded with foams and the earrings dangling from their ears. As part of the festival, they are compelled to dress like women, wearing blouses, skirts, earrings, necklaces and brassieres. Not only that, they either plait their hair or braid them or wear wigs on their bald heads!

    The festival which started over 500 years ago during the reign of Oba Rengenjen, who unknowingly married a beautiful woman, Oronsen, who  possessed supernatural power. According to history, the monarch fell in love with the strange woman and kept her in the palace. He was so much in love with her that other wives became jealous of their love. However, Oronsen , was said to have made the monarch wealthy by using her supernatural power.

    This brought prosperity and popularity to the town . Later, out of envy, other wives, however, became more jealous and were in search of how to cause disaffection between the two lovebirds. Her taboo was that okra should never be mixed in her presence, nor firewood be thrown, and no water should be splashed before her. All these taboos were kept under wraps by the monarch while he warned his household never to try any of these.

    The story went on that, until one day when one of the wives got the husband drunk and was made to divulge the secret. One day, the monarch went out on an for hunting expedition while the other wives conspired against the wife and broke the taboos: they splashed water on the ground, threw firewood and mixed okra in her presence. The woman, sensing danger, and having discovered their conspiracy, fled the palace and ran for cover in a thick forest!

    But when the monarch returned and was briefed about what had happened  in his absence, he  grew annoyed. He made frantic effort to bring her back and therefore, instructed the palace guards known as the Iloros, Ayoyos to trace her out. Alas, it was only her headgear  that was discovered along the Ulaja groove. This material was brought back home with long canes to discipline the other wives who perpetrated this ignoble act.

    Several efforts were made to locate her but all to no avail. But her voice was always heard weeping for losing such a lovely husband. Her crying was heard but she was never seen. In return for her love, she instructed the monarch to be celebrating her every year to get the town to progress.

    During the Igogo Festival, there should be no booming of guns, men and women must not wear caps and headgears, while no drums should be beaten. Wooden sticks and iron metal gongs are used in place of drums, while different songs are sung during this occasion.

    High Chief Ola Osenenpen, who also dressed in woman’s clothes  said: “Nobody should miss the festival, it is a sign of showing love and honouring the king who is the chief celebrator at the festival. I am about 71years old  and since I became a chief 27years ago, I have never missed the festival”. On the costs implication, Osenenpen said it cost him much, “I bought drinks and food for my visitors. In fact, I spent money  with full happiness. This is our own festival.”

    Chief Christianah   Fehintola  Famuagun,93 the Obanuwa of Owo described the festival as a huge success despite the fact that she is too old and cannot go out again. She said that because of her  old age  coupled with Ebola warning she could not go out to join the dance but observed it from her home. The septuagenarian in spite of her inability to walk, dressed in her own regalia decorated with beads. According to her, she has never missed the festival  for the past 50 years   since her enthronement.

    She said: “Both the celebrators and well wishers from outside the town were  not many , they said it was because of Ebola , I observed my Igogo at home.The festival is important  and has to be observed, this is my 53 years I have been celebrating  it and I have vowed that it must be done. I am among the oldest chiefs  that partake in this festival”

    During an interview, contrary to rumours the monarch denied ever trying to abolish the festival saying ‘Igogo  Festival is part of our culture and it is our festival’ he added and that there is thechief priest, Chief Adelanke Ajana who oversees the rites and rituals.

    He continued “The federal and state governments through the chiefs of staff  advised us that we should be careful  in bringing  in foreigners because of the Ebola disease. So, they advised  us to restrain from bringing outsiders    so as  not to cause any problem. What that means is that if the festival has to take place it has to be  low key  and people cooperated. We kept to the advise, people did not troop out  enmase”.

    On the rituals and rites, the monarch said: “We did everything we were supposed to do for the festival. You can ask the  town’s chief priest, Chief Adelanke Ajana who is in charge. I don’t perform rites it’s the chief priests that will do it , but I have to be there when they are praying”

    Senator Remi Okunrinboye described the festival as  a celebration of love and womanhood. “You can see  the coming together of  sons and daughters of Owo. It has been there over hundreds of years , we are happy to celebrate it.”