The Comprehensive History Of Osogbo

Why has the home of a Yoruba river goddess become a UNESCO World Heritage site and a global attraction? Every year, tens of thousands of people from around the world visit the sacred grove of Osun, Osogbo's guardian deity, to attend her festival. Peter Probst takes readers on a riveting journey to Osogbo. He explores the history of the Osogbo School, which helped introduce one style of African modern art to the West, and investigates its intimate connection with Osun, the role of art and religion in the changing world of Osogbo, and its prominence in the global arena.

This book focuses on space in African and Black religion and spirituality through the lenses of area studies, African and black diaspora studies, history and culture, cultural studies, ecotourism, environmentalism, and sustainability.

A groundbreaking interrogation of the myriad causes and effects of African migration, from the pre-colonial to the modern era.

By understanding osogbo, the spirits of misfortune, we can better overcome them and return to health and balance in our lives • Explains how misfortune works in this world as living spirits that plague humanity but are also a catalyst for self-development and conscious evolution • Shows that we can overcome osogbo through ebó, sacrifice, and hard work as prescribed by consulting the orishas through the casting of the diloggún • Shares more than 40 ancient African sacred stories about the spirits of osogbo Beginning with the story of his goddaughter's battle with stage IV cancer, Lucumi priest Ócha'ni Lele explains the role of osogbo, or misfortune, in our lives. While everyone seeks blessings in life, undeserved blessings make us weak and lazy. It is tragedy that encourages us to grow and persevere. Exploring the Lucumí beliefs regarding osogbo, he shows that the Lucumí faith is neither fatalistic nor defeatist but healing and life affirming. He shares more than 40 patakís--stories stemming from the ancient Yoruba of West Africa--about the different spirits of osogbo, who like the orishas once walked the earth in human bodies. He explains the place of these spirits within the 256 odu of the diloggún, the divination system used in Santería to receive guidance from the orishas. Lele shows that the spirits of osogbo are not only concepts but also real deities and that we can, if we understand their nature, fight them through ebó, sacrifice, and hard work. He reveals how the osogbos see themselves as entities of misfortune who stand against life and all that is good in the world, but in truth it is misfortune that strengthens us, misfortune that motivates us, and misfortune that brings great evolution to the world. As the author shows, “Without bitterness, one could not know sweetness.” Likewise, without misfortune in our lives, we would never know blessings or what it means to be blessed.

The Yoruba: A New History is the first transdisciplinary study of the two-thousand-year journey of the Yoruba people, from their origins in a small corner of the Niger-Benue Confluence in present-day Nigeria to becoming one of the most populous cultural groups on the African continent. Weaving together archaeology with linguistics, environmental science with oral traditions, and material culture with mythology, Ogundiran examines the local, regional, and even global dimensions of Yoruba history. The Yoruba: A New History offers an intriguing cultural, political, economic, intellectual, and social history from ca. 300 BC to 1840. It accounts for the events, peoples, and practices, as well as the theories of knowledge, ways of being, and social valuations that shaped the Yoruba experience at different junctures of time. The result is a new framework for understanding the Yoruba past and present.

Sacred art flourishes today in northeastern Brazil, where European and African religious traditions have intersected for centuries. Professional artists create images of both the Catholic saints and the African gods of Candomblé to meet the needs of a vast market of believers and art collectors. Over the past decade, Henry Glassie and Pravina Shukla conducted intense research in the states of Bahia and Pernambuco, interviewing the artists at length, photographing their processes and products, attending Catholic and Candomblé services, and finally creating a comprehensive book, governed by a deep understanding of the artists themselves. Beginning with Edival Rosas, who carves monumental baroque statues for churches, and ending with Francisco Santos, who paints images of the gods for Candomblé terreiros, the book displays the diversity of Brazilian artistic techniques and religious interpretations. Glassie and Shukla enhance their findings with comparisons from art and religion in the United States, Nigeria, Portugal, Turkey, India, Bangladesh, and Japan and gesture toward an encompassing theology of power and beauty that brings unity into the spiritual art of the world.

This book provides us with more information about Osun Osogbo and Osun in Americas. Our three areas of study are myth as a form of oral literature and poetic elements for religious studies; the Osun annual festival in Osogbo and continuity of Osun in existence in the New World today. In this book we bring the two side of the Atlantic together in dialogue through the spread of myth.