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Theatre Art

Theatre appears to exist and have existed in all societies in some form.

Some things have theatrical elements (parades, gameshows, sports, dances, religious services, political campaigns), but they are different from theatre, the art form.

Theatre as an Institution:

Origins of Theatre -- Theories:

No clear evidence, so all theories are conjecture.

Aristotle suggested that mimesis (imitation) is innate in humans; theatre probably came from the dithyramb, a hymn sung or chanted before religious rituals in honor of Dionysus, the god of wine, rebirth, and fertility. The word "tragedy' seems to have come from the Greek words for "goat" and "song"--so tragedy was a goat-song (whether sung to, by, or for the goat is anyone's guess).

1. Storytelling -- pleasurable and natural, a narrator elaborates by impersonating.

2. Movement / Dance -- imitating physical behavior of animals and humans, donning skins as garments -- eventually talking was added.

3. Judicial System -- necessity to speak in court required expansion, desire to perform and see performances.

4. Supreme act of an unidentified artist (Perhaps Thespis, perhaps Aeschylus) -- a revolutionary discovery -- to synthesize many other already existing elements.

5. Ritual Theory --This is the most pervasive and accepted of theories, but much questioned.

--From primitive religious rituals usually connected with spring and the seasonal cycle, drama evolved--

--Few say that theatre came directly from ritual, but that ritual influenced theatrical forms--

--Sir James Frazer's theory (late 19th century) -- primitive cultures with no written language performed rituals to win the favor of natural forces, then it is formalized, then stories grew up to explain the rituals -- people were impersonating gods, beings, or forces-- and there resulted a developing dramatic sense--

--Eventually, rituals were abandoned or modified, but myths / stories remain as oral tradition. A big step toward drama occurs when these are acted out in simple drama.

--Aesthetic gradually overtakes the religious or utilitarian aims of ritual.

Against ritual theory -- functionalists -- 1915 --

--Suggest the possibility that cultures develop differently from one society to another-- they argue against the "cultural Darwinism" which holds that all human institutions have developed similarly-- and suggest that perhaps that not the case.

 Theatre is a combination of many art forms, but when put together equals more than the sum of its parts.

A.  Theatre is a Literary Art : The Play

Perhaps the only concrete and lasting (permanent) element of the theatre.

The other elements are ephemeral (non-permanent) [Except for perhaps set and costume design, of which photos can keep a permanent record].

We have to look at the play in combination with its time and place -- its context -- for better understanding.

What makes a good play?

Theorists throughout history have disagreed and bickered about what makes a good play. Most base their arguments at least in part on Aristotle or variations of Aristotle - the Poetics (334 BC)-disagreeing, agreeing, or reinterpreting.

Although there is not one coherent theory of a good play, many basic premises have been determined by which we can evaluate a script -- realizing, however, that our criteria may not necessarily be the same as the criteria for a good play when the play was written - how the play was looked at at the time.

Interpretations / evaluations are different based on different ways of looking at the world, at people, at life, and at the nature and purpose of the theatre.

By looking at various theories and examining playscripts of different styles and periods, our ability to discern and evaluate aesthetic elements of the drama will become more acute.

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B.  Theatre is a Performing Art: The Production

The most ephemeral and immediate.

"The home of the now" (according to Cameron and Gillespie).

Robert Edmund Jones (early 20th century designer) -- "aware of the now".

An art for everyone.

Acting, directing, design, construction, running crew (musicians, singers, dancers).

An amalgam of all the arts -- making it either the least pure or the most pure.

Needs talent and skill to plan and execute, from all elements of the production.

Final product is a result of the efforts of many.

We can increase aesthetic and technical appreciation for the individual arts going into make theatre and for the different styles and periods of theatre.

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C.  Theatre is a Major Form of Entertainment:

Holds audience's attention-the primary form of public entertainment until the advent of radio and movies.

Theatre is fun: theatre is play (work, food, exercise) for the soul, for the mind, for the body.

All work and no plays would be boring.

Eric Bentley - suggested the concept of "eros" is essential for theatre - actual sweating breathing human beings in front of us --

Perhaps we could look at the theatre in at least four ways:

1. as entertainment / art
2. as instrument of education
3. as weapon of social / political change
4. as document of history -the plays and the theatrical events of various periods can be seen as historical documents reflecting that period.

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Important terms:
ephemeral
eros

Next Section:Theatre as a Performance Art

YORUBA

GBIGBA AWON ENIYAN SINU IJO PELU IFE (APA KEJI)

1. EKO.

Aimokan ni oogun. Oogun re naa ni wiwa imo. Imo ni idakeji, agbara ni imo je. Ni afikun, o je ohun-elo ironi lagbara. O ye ki eni ti a gbala ti ba Olorun pade. Sugbon sa, o le ma mo nipa Olorun pupo ati bi o ti le ba a rin lons ti o lere. O nilo ki a se eto igbani-wole to fanimora fun awon omo Ijo titun.

Rick Warren fi lele wi pe, Ijo kankan ko gbodo yehun lori otito pe won nilo lati je ki omo Ijo titun la liana eto ifinimole koja ki a to gba won sinu Ijo lekunrere. O da a loju pe eyi ni idanwo akoko fun didan ifara-eni-jin omo Ijo titun si Ijo wo nipa gbigba lati gba eko fun ete ati ilana Ijo.

O damoran pe a gbodo beere pe ki omo Ijo titun naa pari kilaasi re nitori pe o je okan lara agbara Ijo ati ona lati pese awon ti yoo mu idagbasoke ba ara Kristi.

Ohun ti wa loke yii n gbiyanju lati so fun wa pe enikeni ti oba kuna lati gba eko Ijo le ma je ohun-elo rere fun mimu ara Kristi dagba. Bibeli n ko wa pe,

Gbogbo iwe Mimo ti o ni imisi Olorun ni o si ni ere fun eko, fun ibani-wi, fun itoni, fun ikoni ti owa ninu ododo. Ki eniyan Olorun ki o le pe, ti a ti mura sile patapata fun ise rere gbogbo. (Timotiu keji 3:16-17). Ni afikun, Olorun ti fi awon kan funni bi Aposteli; ati awon miran bi Wolii; ati awon miran bi efangelisti, ati awon miiran bi oluso-aguntan ati olukoni; fun asepe awon eniyan mimo fun ise-iranse, fun imudagba ara Kristi: titi gbogbo wa yoo fi de isokan Igbagbo ati imo omo Olorun, titi a o fi di Okunrin, titi a o fi de iwon gigun ekun Kristi: ki awa ki o mase je ewe mo ti a n fi gbogbo afefe eko ti siwaju ati seyin, ti a si n gba kiri, nipa itanje eniyan nipa arekereke fun ogbonkogbon ati muni sina (Efesu 4:11-14).

Fun idi eyi, a gbodo ko awon eniyan lati mo ohun t se awon ilana ati ise Ijo. Gege bi omo Ijo Onitebomi, a ni awon ogun ti wa to yato, to si niye lori. A gbodo mu ki awon omo Ijo titun mo, o kere tan, awon ipo ilana onipele-meje ti o wa nisale yii.

i. Ase Bibeli ati Jesu Kristi nikan.

ii. Iribomi awon onigbagbo nipa itebomi patapata.

iii. Ounje ale Oluwa gege bi ounje iranti ti Olorun le lo fun ete Re.

iv. Okan yiye : gbogbo awon onigbagbo ni I se alufa.

v. Iduro-sinsin ipamo awon eniyan Mimo.

vi. Ominira esin.

vii. Idaduro Ijo agbegbe.

Bi enikeni tabi Ijo kan ba kuna lati safihan awon ilana ati ise to je mo awon wonyi, lati inu itan wa ni awo omo Ijo Onitebomi ti maa n setan lati so pe “Bi ko ba gba pelu wa lori awon Igbagbo apapo wonyi, Nigba naa, iwo ki se omo Ijo Onitebomi.”

2. IYASIMIMO

Die lara awon ti won la awon ipele marun-un akoko yi koja le pinnu lati duro ninu Ijo tabi lati ma se bee. A da a nimoran pe ki afi awon ti won ti se ipinnu won han fun Ijo laarin isin. A gbodo ko awon ti a ko ti I se iribomi nipa itebomi patapata fun lekoo si. A gbodo mu ki won fi oro-jomitoro-oro pelu awon adari die ninu awon adari eka Pataki ninu Ijo.

Ni saa kookan a gbodo yan ojo isinmi kan fun fifi awon omo Ijo titun han fun gbogbo Ijo lapapo. A gbodo ka oruko won jade tabi ki a ko won sinu iwe isin Ijo fun ojo naa bi a ba ni. Gbogbo awon diakoni, olutoju ohun-ini Ijo, awon omo igbimo Ijo ati awon kan ti ati yan (Awon alaga elegbe-jegbe, nibi ti o ti ye) gbodo fun won ni owo idapo.

A gbodo mu ki won ka, ki won si fi owo si Majemu Ijo ati Majemu omo Ijo, bi oba wa. A gbodo fun eni kookan won ni iwe ofin Ijo ni gbangba. Bi Ijo ba le pese ounje idapo leyin isin, ko buru.

3. MIMU WULO.

Niwon igbati awon naa ti di omo Ijo, a gbodo gba won niyanju lati darapo mo awon agbo ipejopo, bii ile eko ojo isinmi, kilaasi isonidomo-eyin, ipade atile-dele, abbl. Eyi ni igbanimora. Eni kookan won wa ni ominra lati lo awon ebun emi ati talenti re fun idagbasoke iru Ijo Onitebomi agbegbe bee.

ORO IPARI.

Awon ilana to fanimora wa ti ole ran ni lowo lati gba awon omo Ijo titun mora, awon naa ni a to si isale yii:

a. Igba/ Akoko.

A gbodo ye ohun ti a fe se wo. A gbodo mi ki ilana na rorun lati tele, ikonilekoo naa gbodo je eyi ti o kun oju osunwon.

b. Idanilekoo.

Eni ti n dani lekoo naa gbodo mura sile. Gbogbo awon ohun-elo ikekoo gbodo ti wa nile ki oniwaasu to bere si maa ko awon eniyan jo. Oniwaasu funra re tabi eni ti o yan gbodo fi ara re han gege bi eni ti o mo nipa eto ifinimole awon omo Ijo titun.

d. Sise Pele.

Bi oniwaasu ti n ko awon alejo jo, iwa ibowo fun ipo awon eniyan, eya won lokunrin ati lobinirin, iru eni ti won je, ipilese ati orile-ede ibi won gbodo je e logun.

AWON IBEERE FUN AYEWO ATI IJIRORO.

1. Kin ni a le se lati mu ki gbogbo Ijo dide si ise iwaasu Ihinrere?

2. Kin ni idi ti awon omo Ijo titun fi maa n ko lati lo si kilasi ifinimole, kin si ni a se lati satunse eleyii?

3. Nje o ni awon Igbagbo ti awon omo Ijo dimu, eyi ti o ye ki a se ayewo won? E so iru awon Igbagbo bee ki e si jiroro lori die ninu won.

4. kin ni amuye awon ti won gbodo ko awon omo Ijo titun ni eko isonidomo-eyin.

5. Jeki enikan pin oye re nipa Ogun Ijo Onitebomi pelu kilaasi.

ORIKI IFA 3

Ifa Prayers - ORÍKÌ IFÁ

Article Index
Ifa Prayers
ADURA ÒRÚNMÌLÀ OLUWA MI AJIKI
KIKI IFÁ
ORÍKÌ ELA
ORÍKÌ ELA 2, 3
Osumare
Olodumare
IFÁIYABLE
ALAFIA OPON
ORÍKÌ IFÁ
ORIKI IFÁ
TDARIJI
ORÍKÌ F'ODÙ MÍMÓ
ÒRÚNMÌLÀ AJANA
All Pages

JPAGE_CURRENT_OF_TOTAL

ORÍKÌ IFÁ (Praising the Wisdom of Nature to open Divination)
Òrúnmìlà Eleri - ipin ibikeji Olodumare. Spirit of Destiny, Witness to Creation, second only to the Creator.
A - je - je - ogun obiriti - a - p'ijo - iku sa. He who has the medicine to overcome Death. Oluwa mi amoimotan - a ko mo o tan ko se. The Creator who knows everything that we do no know.
A ba mo o tan iba se ke. If we had known everything there would be no suffering. Oluwa mi Olowa aiyere omo Elesin Ile - Oyin. The Creator of Good Things on the Earth, Son of the Owner of the House that is made of honey.
Omo ol'ope kan t'o s'an an dogi - dogi. Son of the owner of the tree that always stands firm.
Oluwa mi opoki a - mu - ide - s 'oju ekan ko je k'ehun hora asaka - saka akun. The Creator Opokoi who put the gold chain of protection in his eyes so that the finger of the lion would not scratch and make a rash.
Omo Oso - ginni t apa ti ni - ewu nini. Son of Oso-ginni from the Tapa tribe where everyone dresses in fine cloths the Owner of Egun who walks on stilts.
Omo Oso pa'de mowo pa'de mese o mbere at epa oje. Oso's son who put beads on his wrist and ankles, the gold chain of Oje.
Oluwa mi igbo omo iyan birikiti inu odo. The Creator, Spirit of the Bush, Son of the Round Powdered Yam in the Mortar.
Omo igba ti ns'ope jiajia. Son of the Calabash who created many palm trees. Iku dudu at ewo Oro aj'epo ma pon. The wise Ancestor with a wordly hand who eats palm oil that is not ripe.
Agiri ile - ilobon a - b'Olowu diwere ma ran. Agiri from the House of Wisdom with plenty of small cotton seeds that never spread.
Oluwa mi a - to - iba - jaiye Oro a - b'iku - j'igbo. Creator it is good living on Earth even with the Spirit of Death lurking in the bush.
Oluwa mi Ajiki ogege a - gb'aiye - gun. Creator we go to greet you in the morning with Ogege who lives to make Peace on Earth.
Odudu ti idu ori emere o tun ori ti ko sain se. The person whose Spirit defends those who die at birth re-shapes bad heads.
Omo el'ejo ti nrin mirin - mirin lori ewe. Son of the sanke who moves serenely along the top of the leaves.
Omo arin ti irin ode - owo saka - saka. Son of the Grinder who rules with a clean hand. Òrúnmìlà a boru, Òrúnmìlà a boye, Òrúnmìlà a bosise. Ase. I beg the Spirit of Destiny to lift your burden from the earth and offer it to Heaven. May it be so.
ADURA ATI IJUBA (Praising the elders in support of divination)
Ìbà luwo, ìbà jugbona, ìbà Akoda, ìbà Aseda, ìbà Araba egbe Ifá Ogun ti Ode Remo, ìbà baba, ìbà yeye, ìbà yeye baba. A juba enikan kode enikan ku. Ase.
FIFO IKIN (Greeting the Ikin Prior to divination)
* Place the listed number of Ikin in the left hand Erun Osi. Five Ikin (Present to the left side of the tray) Erun Ora. Five Ikin (Present to the right side of the tray) Eta Egutan. Three Ikin (Present to the top of the tray) Eji Ereye. Two Ikin (Present to the bottom of the tray) Eniti o ba fin idan. One ikin (Present to the middle of the tray)
ORIN IKIN (Song for marking Odu)
Call; Ejiogbe a buru a boye akala o. Response; A akala, a akala o. Call; Oyeku meji a buru a boye akala o. Response; A akala, a akala o. * Call the Odu in sequence until all eight marks are on the tray

ORIKI OBALUAYE

>>> Atótóo !!! OBALUAYE a jí béèrù Sápatà !!! <<<1.
A jí dàgòlóònòn kí wa sawo orò
Dàgò ilé ilé , dàgòlóònòn kí wa sawo orò
Dàgò ilé ilé…
Ao acordar pedimos licença ao senhor no caminho
aquele a quem fazemos o culto.
À nossa casa pede licença no caminho a quem nós fazemos o culto tradicional.
2.
Onilè wà àwa lèsé òrisá
Opé ire onílè wà a lèsé òrisá Opé ire
E kòlòbó e kòlòbó sín sín sín
Kòlòbó E kòlòbó e kòlòbó sín sín sín…kòlòbó
O Senhor da terra está entre nós que cultuamos orixá.
Agradecemos felizes pelo Senhor da terra
estar entre nós que cultuamos orixá.
Agradecemos felizes.
Em sua pequena cabaça traz remédios
para livrar-nos das doenças.
3.
Àáròo rè gbèlé gbèlé mi báa yí lówó,
E n’jí Omolú tó gbèlé gbèlé mi báa yí lówó
Ó jé jí àwúre.
Sentimos a vossa ausência,proteja a vida na terra e me faça perseverante,
Omolu mantém vigília e é quem proteje a vida na terra e me faz perseverante…
E ele é quem tem o feitiço que nos traz boa sorte.
4.
Jé a npenpe e ló gbé wàiyé
Tó ní gbón mi
Jé a npenpe
Omolú wàiyé ( Obalúwaiyé )
Tó ní gbón mi ó
Senhor que tem boa memória e pode tornar-se inteligente.
pois eu sou insignificante ( pequenino )
É ele que pode dar proteção ao nosso mundo.
È ele que pode dar inteligência, eu sou pequenino
Rei, Senhor da terra, torne-me inteligente.
5.
Jó alé ijó ,
é Jó alé ijó
é jó alé ijó
Àfaradà a le
Njó ó ngbèlé
Dance em nossa casa,
dance, dance , dance em nossa casa.
dando força e energia à nossa casa.
Dançando ele dá proteção à nossa casa.
6.
Kíní a awo ó ní kójó, jé ó ngbélè
Kí wa jó e kí wa jó ó ní kójó, jé ngbélè ki wa jó.
Quem nós cultuamos esta junto, ele é aquele que vive na terra.
É para quem nós dançamos, ele esta junto de nós.
7.
A bàbá òrun mò fé, a bàbá òrun e njó jó
A bàbá òrun mò fé, a bàbá òrun e njó jó…
Nosso pai do céu, nós sabemos amá-lo,
Nosso pai do céu, nós dançamos para vós..
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ÀDÚRÀ TI OMOLÚ
Omolú ìgbóná ìgbóná zue
Omolú, Senhor da Quentura
Omolú ìgbóná ìgbóná zue
Sempre febril produz saúde
Eko omo vodun maceto
Educa o filho Vodun Maceto
Eko omo vodun na je
Vodun educa o filho castigando
Ìjòni le o Nàná
Nàná ele é capaz de provocar queimaduras
Ìjòni le o Nàná ki mayò
Ele é capaz de provocar queimaduras, Nana, e se enche de alegria
Nàná ki mayò ki n a lode
Nana ele se enche de alegria do lado de fora
Fèlèfèlè mi igba nlo, ajunsun wale
És capaz de fazer definhar em vida, Ajunsun, até secar
Meré-meré e no ile isin
Habilmente ele enche a nossa casa de escravos
Meré-meré e no ile isin
Habilmente ele enche a nossa casa de escravos
E n sinbe meré-meré osú láyò
Primeiramente o erguemos habilmente osú que cobre a terra
E n sinbe meré-meré osú láyò
Primeiramente o erguemos habilmente osú que cobre a terra
Oba alá tun zue obi osùn
Rei que nasceu como o sol, Pai do Vermelho
Oba alá tun zue obi osùn
Rei que nasceu como o sol, Pai do Vermelho
Iya lóni
Neste dia
Otù, àkóba, bi ìyá, húkó, káká, beto
Doença, infelicidade, sofrimento, tosse, dificuldades, aflição
Otun zue, obi, osùn
Suplico-lhe diariamente, Pai do Vermelho
Bara ale so ran ale so ran
Rei do corpo suplico-lhe rastejando
Bara otun zue obi osùn
Rei do corpo suplico-lhe diretamente, Pai do vermelho
Olórí ìjeníiyà a pàdé__ Olorí pa
Olórí ìjeníiyà a pàdé__ Olorí pa
O Senhor que mata, o Senhor que castiga
vem ao nosso encontro.
O canto repetido varias vezes fala daquele que castiga e pune os infratores.O refrão a seguir, fala da proteção àqueles que sabem bem receber :
Jó alé ijó __ é Jó alé ijó__é Jó alé ijó
Àfaradà a lê Njé ó ngbèlé
Dance em nossa casa,
dance, dance , dance em nossa casa.
dando força e energia à nossa casa.
Dançando ele dá proteção à casa.
Um quarto e quinto cânticos falam da tradição e da
constante peregrinação do Rei conquistador. O povo de santo sempre fala dos respeito que se deve aos andarilhos, pobres e pedintes, dizendo que “ são os afilhados de
Obaluaê ou até ele mesmo disfarçado” para observar os seus . E o último,dos campos daqueles que cultivam a terra, do lavrador que pede a Onilé fartura para seu povo.
Àká ki fàbò wíwà_ Àká ki fàbò wíwà_ Wáá kalé , wáá Kalé sé awo oro__ Kalé sé awo orò
Wáá kalé , wáá__ Kalé sé awo orò
Celeiro para onde retorna a existência,que possa você ter celeiro para onde retorna a existência. Longa vida para cultuar as tradições, e que possa você ter longa vida
para culturar as tradições.
Ò kíní gbé fáárà farotì __Ò kíní gbé fáárà àfaradà
Oní pópó oníyè__Kíní ìyìyá wa ìfaradá
Ele é aquele que pode aproximar-se e dar apoio
com sua proximidade. Senhor das estradas e dos campos, Senhor da boa memória, que pode nos dar força para resistirmos à dor.
Ò ní a ló ìjeníìyà__Ajàgun tó ló_
Ìjeníìyà olúwàié__Táálá bé okùnrin_
O táálá bé okùnrin__Wa ki ló kun_
Táálá bé okùnrin__Abénilorí ìbé_
Rí ó ní je olúwàié__Táálá bé okùnrin.
Ele pode fazer secar a cabeça do homen,
levá-lo embora e esculpir a cabeça do homem .
Ele pode fazer definhar, matar a cabeça do homen.
É o executor que decapita, o guerreiro que pode castigar.
O senhor da terra, o guerreiro que pode punir.
O cântico suplica ao Deus, cujo rosto oculto inspira temor e medo, porem todos sabem que padeceu enfermo, sofreu o flagelo do abandono e, por isso mesmo, ampara e protege os desafortunados.
Wúlò ní wulò__A nilè gbèlé ibé kò__Wúlò ní wulò__A nilè gbèlé ibé kò
Ele é importante e necessário para nós da terra, dá proteção à casa não permita que nossas cabeças tombem ( pelas mãos do inimigo )
O aspecto punitivo do Orixá, é expresso em outra cantiga , assim como seu poder criador.
Omolú tó ló kum eron ènìòn_E ló e ló e kum
Omolú tó ló kum eron ènìòn_E ló e ló e kum
Omolú tó ló kum eron ènìòn _E ló e ló e kum
Omolu é aquele que pode,esculpir na carne das pessoas.Omolu é aquele que pode esculpir na carne das pessoas.
Os Sábio-sacerdotes,diante de Onilé (Senhor da terra ) se dizem pequenos: a modéstia,no entanto,é só aparência diante dos poderosos.
As cantigas falam disso..
Onilè wà àwa lèsé òrisá_Opé ire onílè wà a lèsé òrisá Opé ire__E kòlòbó e kòlòbó sín sín
sín_Kòlòbó__E kòlòbó e kòlòbó sín sín sín _Kòlòbó
OSenhor da terra está entre nós que cultuamos orixá.Agradecemos felizes pelo Senhor da terra estar entre nós que cultuamos orixá. Agradecemos felizes.Em sua pequena cabaça traz remédios para livrar-nos das doenças.
Omolú pè olóre a àwúre e Kú àbó
Omolú pè olóre a àwúre e Kú àbó
Omolu te pedimos Senhor da boa sorte,que use seus remédios ( sortilégios )para nos trazer boa sorte.Seja bem-vindo!!!
Jé a npenpe e ló gbé wàiyé_Tó ní gbón mi_Je a npenpe_Omolú wàiyé (Obalúwaiyé )Tó ní gbón mi ó Senhor que tem boa memória e pode tornar-se

ORIKI IFA 2

ORIKI IFÁ (Praising the Divination set)
Ifá ji - o Òrúnmìlà. Bi olo l - oko, ki o wa le o. Ifa awake oh Spirit of Destiny. If you are going to the farm, you should return home.
Bi olo l - lodo, ki o wa le - o. If you are going to the river, you should return home.
Bi olo l - ode, ki o wa le - o. If you are going on the hunt, you should return home. * Place the bowl of ikin on the ground to the left.
Mo fi ese re te - le bayi. I take your foot and press the ground like this. * Place the bowl on the mat.
Mo fi ese re te ori eni bayi, mo gbe o ka l-ori eni ki o le gbe mi ka l - ori eni titi lai. I take your foot and press the top of the mat, I carry you to sit on the mat so you can carry me to sit on the mat. * Place the bowl on the tray.
Mo gbe o ka l - ori opon Ifá ki o le gbe mi ka l - ori opon Ifá titi lai. I carry you to sit on Ifa's tray so that you can carry me to sit on Ifa's tray forever. * Draw a line around the bowl clockwise.
Mo ko - le yi o ka ki o le ko - le, yi me ka ki o le jeki omo yi mi ka ki o le jeki owo yi mi ka. I build a house around you so you can build a house around me so you can let children surround me so that you can let money surround me. * Erase the line with a feather.
Mo juba - o, mo juba - o. Iba se, iba se, iba se. I give respect, I give respect. I give praise, I give praise, I give praise. * Sprinkle iyerosun on the floor.
Ile mo juba, iba se. Earth, I give you respect and praise. * Mark a line from the center to the top of the tray.
Mo la ona fun tororo ki o le la ona fun mi tororo ki o le jeki omo to ona yi wa s - odo mi ki o le jeki owo t o ona yi wa s - odo mi. I open a straight road for you so you can open a straight road for me so you can let my children take this road to my presence so you can let money take this road to my presence. * Stir the Iyerosun on the floor with a feather.
Mo se il e bayi. I do this on the ground. * Stir the iyerosun tray. Mo se opon bayi. I do this on the tray. * Tap on the tray.
A - gun s e - o a - gun se. Bi akoko g - ori igi a se, a - gun se - o, a - gun se. To climb and chatter, to climb and chatter. If the West African grey woodpecker mounts the top of the tree it will chatter, to climb and chatter, to climb and chatter.
Bi agbe ji a ma s e, a - gun se - o, a - gun se. If the agbe bird awakes to climb and chatter, to climb and chatter, to climb and chatter.
Bi aluko ji a ma se, a - gun se - o, a - gun se. If the woodpecker awakes it will chatter, to climb and chatter, to climb and chatter.
Iba se (Name of Orisa ) Oba aiye ati Oba Orun iba yin o. I praise (Name of Spirit) Chief on Earth, Chief in Heaven I give you praise.
Òrúnmìlà boru, Òrúnmìlà boye, Òrúnmìlà bosise. Spirit of Destiny lift my burden from the earth and offer it to Heaven. * Clap hands three times. Adupe - o. I give thanks. * Count out sixteen Ikin from the bowl.
A tun ka li asiwere ika owo re. To count again is how a mad man counts his money.
Iba Oluwo. Iba Ojugbona. Iba a ko ni li - fa. Iba a te ni l - ere. I praise the chief priest. I praise my teacher. I praise all those who have taught me Ifa. I praise the one who pressed my hand into the mud.
Iba a ko bayi. Iba a te bayi. Iba gbodipete. Iba kukubole. I praise those who do this. I praise those who mark Ifa. I praise the termite hill. I praise the ant hill.
Iba okuta. Iba loko. Iba lodo. I praise the stone. I praise the farm. I praise the river.
* Replace the Ikin in the bowl.
Oro kan so ko si awo n - ile oro kan so ko si agba n - ile. Ase. One world alone does not drive a diviner from home. One world alone does not driver an elder from home. May it be so.

oriki ifa

The Iwa Pele Training School is a combination of written material coupled with in class demonstrations. I also schedule the classes at time when I am doing work in a particular area so the student has the opportunity to actually the see the work being done and to demonstrate their ability to do the work. I have posted the first lesson in the process as an example of the way I present material.
Egbe Iwa Pele
Training Manuel

• Aladura – the Ifa Concept of Prayer Cycles
• Basic Vocabulary
Ifa is a communal spiritual practice and the community is bound together by an elaborate web of interconnected prayer cycles that create a fundamental link between Orun (the invisible realm) and Aye (the Earth). Traditional Yoruba culture is organized based on the Afro centric four day week. The four day week is the foundation of a prayer cycle that links the individual to the family, the family to the spiritual family and the spiritual family to the entire community and as this process links to the elders of Ile Ife the cycle becomes a global phenomena.
• Daily Prayer Cycle
The first component of the cycle is the daily prayer. This prayer is spoken by everyone in the community. It is a prayer based on greeting whatever spiritual forces are present in a person’s particular shrine. Virtally everyone in traditional Yoruba culture acknowledges a connection with the ancestors and their own person Ori or individual consciousness. In addition it is traditional every morning to thank the Creator for the manifestation of a new day. Beyond this Ifa spiritual discipline teaches that we greet each spiritual entity that we have received through initiation on a daily basis. This is done by use of what I call oriki short form. The word oriki from the elision ori kiki means praising consciousness. Ifa teaches that everything in Creation has consciousness and that praising a particular manifestation of consciousness is the foundation for invoking a spiritual connection with a particular manifestation of spirit. The oriki short form used as a daily prayer is essentially the use of the first sentence in the longer oriki strong together is a particular order. The oriki form for the daily prayer is as follows:
• Thank the Creator for manifesting a new day.
• Invoke the six directions, the four cardinal directions plus Heaven and Earth.
• Invoke the ancestors.
• Invoke consciousness.
• Invoke the guardians.
• Invoke the Spirits received in initiation.
The following is an example of a daily prayer. Each person needs to select from the example those spiritual forces that are present in the shrine at their home.
ÌBÀ’SE MERÌNDINLOGUN
(Opening invocation for Cowrie Divination)
Opé ni fún Olórun.
Gratitude to the Ower of the Realm of the Ancestors.
Ìbà Olódùmarè, Oba àjíkí. Mó jí lòní. Mo wo’gun mérin ayé.
I respect the Creator, the King who we praise first. I awake today. I behold the four corners of the World.
Ìbà ilà Oòrùn.
I respect the power of the East.
Ìbà iwò Oòrun,
I respect the powers of the West.
Ìbà Aríwá.
I respect the powers of the North.
Ìbà Gúúsù.
I respect the power of the South.
Ìbà Oba Ìgbalye.
I respect the King of the Seasons of the Earth.
Ìbà Òrun Òkè.
I respect the Invisible Realm of the Mountains.
Ìbà Atíwò Òrun.
I respect all things that live in the Invisible Realm.
Ìbà Olókun à – sòrò – dayò.
I respect the Spirit of the Ocean, the one who makes things prosper.
Ìbà aféfélégélégé awo ìsálú – ayé.
I respect the power of the wind, the Mystery of the Mysterious World.
Ìbà Ògègè, Oba.
I respect the Mother Earth who sustains the Universal alignment of all things in Nature.
Ìbà (List Ancestors)
I respect (List Ancestors)
Ìbà Orí,
I respect the Spirit of Consciousness.
Ìbà Orí inú.
I respect the Spirit of the Inner Self.
Ìbà Ìponrí ti ò wa’l'Òrun.
I respect the Spirit of the higer Self who lives in the Invisible Realm of the Ancestors.
Ìbà Èsú (Name of Road) Òkunrin orí ità, árà Òké Ìtase, ào fi idà re lálè.
I respect the Divine Messenger of (Name of Road), the Man of the Crossroads, from the Hill of Creation; we will use your sword to touch the Earth.
Ìbà Òsóòsì ode mátá.
I respect the Spirit of the Tracker, Onwer of the Mystery of Spotted Medicine.
Ìbà Ògún awo, Oníle kángu – kángu Òrun.
I respect the Mystery of the Spirit of Iron, the owner of innumerable homes in the Realm of the Ancestors.
Ìbà Obàtálà, Òrìsà Òséré Igbó. Oni kùtúkùtú awo òwúrò, Ikù iké, Oba pàtà -pàtà tí won gb’odé ìranjè.
I respect the Spirit of the King of White Cloth who is praised at the Sacred Grove. Owner of the Ancient Mystery of the White Cloth, the Spirit Who is praised on the sacred day of the Forest, Guardian of those with physical disabilities. King of all future generations.
Ìbà Yemoja Olúgbé – rere.
I respect the Mother of Fishes, the Giver of Good Things.
Ìbà Osun oloriya igún aréwa obirin.
I respect the Spirit of the River, owner of the hair comb
Ìbà Òlukósó aira, bàmbí omo arigbà según.
I respect the King who does not die, the Child of the Thunder Stone.
Ìbà Àjáláiyé Àjàlórun Oya Olúwèkù.
I respect the Winds of Earth, the Winds of the Invisible Realm of the Ancestors, the Spirit of the Wind is the one who guides the mediums of the Ancestors.
Ìbà Ìbejì orò.
I respect the Transforming power of the Spirit of the Twins.
Òrúnmìlà elérìn-ìpin, Aje ju ogún, Ibi keji Olodumare.
Spirit of Destiny, Witness to Creation, provider of strong medicine.
Kikan mase, (List elders)
I ask for the support of (List elders)
Ìbà Ojubo ònòméfà. Ase.
I respect to the shrine of the six directions.
• Four Day Prayer Cycle
The previous prayer in its personal variations is spoken for three days in a row. On the fourth day when the portion of the oriki that addresses the main Orisa of the person saying the prayer is spoken the entire oriki long form is used. This is the oriki that was used to initiate the person who is sayining the oriki and it is used to re connect the person with the altered state of consciousness that occurred during initiation. If the person saying the prayer is a parent then the fourth day cycle should include casting divination for the entire family for the period covering the up coming four days. In this situation on the fourth day the person would continue to cast their daily divination and add a second cast to cover the family for the upcoming four days. This is starting to lay the foundation for connection to both self and world by given indications of the issues and concerns that move beyond the personal to the inter personal or at this level family dynamics. The fourth day cycle could include one of the following long form examples:
ORÍKÌ ÈSÙ ÒDÀRÀ
(Praising the Divine Messenger of Transformation)
Èsù, Èsù Òdàrà, Èsù, lanlu ogirioko. Okunrin orí ita, a jo langa langa lalu.
Divine Messenger, Divine Messenger of Transformation, Divine Messenger speaks with power. Man of the crossroads, dance to the drum.
A rin lanja lanja lalu. Ode ibi ija de mole. Ija ni otaru ba d’ele ife.
Tickle the toe of the Drum. Move beyond strife. Strife is contrary to the Spirits of the Invisible Realm.
To fi de omo won. Oro Èsù, to to to akoni. Ao fi ida re lale.
Unite the unsteady feet of weaning children. The word of the Divine Messenger is always respected. We shall use your sword to touch the earth.
Èsù, ma se mi o. Èsù, ma se mi o. Èsù, ma se mi o.
Divine Messenger do not confuse me. Divine Messenger do not confuse me. Divine Messenger do not confuse me.
Omo elomiran ni ko lo se. Pa ado asubi da. No ado asure si wa. Ase.
Let someone else be confused. Turn my suffering around. Give me the blessing of the calabash. May it be so.
ORÍKÌ ÒSÓÒSÌ OKUNRIN
(Praising the Male Spirit of the Tracker)
Olog arare, agbani nijo to buru, Òrìsà ipapo adun, koko ma panige,
Master of himself, Wise one who gives blessings, Spirit of sweat togetherness. Divination guides the hunter,
Ode olorore, Obalogara bata ma ro. Ase.
Hunter of abundance, the chief tracker always overcomes fear. May it be so.
ORÍKÌ ÒGÚN
(Praising the Spirit of Iron)
Ògún Awo, Onile kangun kangun Òrun. O lomi nil feje we olaso nle fi.
The Mystery of the Spirit of Iron, The Spirit of Iron has many homes in the Realm of the Ancestors. The water of the Realm of the Ancestors surrounds us, it is our abundance.
Imo kimo’bora, ègbé lehin a nle a benbe olobe. Ase.
Wisdom of the Warrior Spirit, come guide my Spiritual
ORÍKÌ OBÀTÁLÁ
(Praising the King of the White Cloth)
Obanla o rin n’erù ojikùtù s’èrù.
King of the White Cloth never fears the coming of Death.
Oba n’ile Ifón alábalàse oba patapata n’ile ìrànjé.
Father of Heaven forever rule for all generations.
O yó kelekele o ta mi l’ore. O gbà á gìrí l’owo osikà.
Gently disolve the burden of my friends. Give me the power to manifest abundance.
O fi l’emi asoto l’owo. Oba ìgbò oluwaiye rè é o kéè bi òwu là.
Expose the Mystery of Abundance. Father of the sacred grove, owner of all blessings increase my wisdom.
O yi ‘àála. Osùn l’àála o fi koko àála rumo. Oba ìgbò. Ase.
So that I become like the White Cloth. Protector of White Cloth I salute you. Father of the sacred grove. May it be so.
ORÍKÌ OLOKUN
(Praising the Spirit of the Ocean)
Iba Olókun fe mi lo’re. Iba Olókun omo re wa se fun oyi o.
I praise the Spirit of the vast Ocean. I praise the Spirit of the Ocean who is beyond understanding.
Olókun nu ni o si o ki e lu re ye toray. B’omí ta ‘afi. B’emi ta’afi.
Spirit of the Ocean, I will worship you as long as there is water in the Sea. Let there be peace in the ocean. Let there be peace in my soul.
Olókun ni´ka le, mo juba. Ase.
The Spirit of the Ocean, the ageless one, I give respect. May it be so.
ORÍKÌ YEMOJA
(Praising the Spirit of the Mother of Fishes)
Agbe ni igbe’re ki Yemoja Ibikeji odo. Aluko ni igbe’re k’lose, ibikeji odo.
It is the bird that takes good fortune to the Spirit of the Mother of Fishes, the Goddess of the Sea. It is the bird Aluko the takes good fortune to the Spirit of the Lagoon, the assistant to the Goddess of the Sea.
Ogbo odidere i igbe’re k’oniwo. Omo at’Orun gbe’gba aje ka’ri w’aiye.
It is the parrot that takes good fortune to the chief of Iwo. It is children who bring good fortune from Heaven to Earth.
Olugbe-rere ko, Olugbe-rere ko, Olugbe-rere ko. Gbe rere ko ni olu-gbe-rere. Ase.
The Great One who gives good things, the Great One who gives good things, the Great One who gives good things. Give me good things from the Great One who gives good things. May it be so.
ORÍKÌ OYA
(Praising the Spirit of the Wind)
Oya aroju ba oko gu o palemo bara – bara. Afefe iku. Abesan wo ebiti kosunwon efufu lele ti nbe igi ilekun ile anan.
Spirit of the Wind died courageously with her husband, She puts matters in order suddenly. The wind of death. Mother of nine shatters the evil mound of earth, strong wind demolishes the tree by the family door.
Okiki a gbo oke so edun, igan obinrin ti nko ida, Oya iji ti se tit bajo – bajo.
Rumor in the clouds, hurls down a stone ax, courageous woman armed forever with a sword, Spirit of the Wind, tornado, sets the leaves of the trees in motion.
A pa kete, bo kete. Ase.
She kills suddenly, she enters suddenly. May it be so.
ORÍKÌ SANGO
(Praising the Spirit of Lightning)
Kawo Kabiyesile, etala mo júbà, gadagba a júbà. Oluoyo, Etala mo júbà, gadagba a júbà. Oba ko so, etala mo júbà, gadagba a júbà. Ase.
Hail to the Chief, It is thirteen times that I salute you. Chief of Oyo, It is thirteen times that I salute you. The Chief who has not died, it is thirteen times that salute you. May it be so.
ORÍKÌ OSUN
(Praising the Spirit of the River)
Iba Osun sekese, Làtojúku awede we mo. Iba Osun Olodi, Làtojúku awede w e mo. Iba Osun ibu kole, Làtojúku awede we mo.
Praise to the Spirit of Mystery, Spirit who cleans me inside out. Praise to the Spirit of the River, Spirit who cleans me inside out. Praise to the Spirit of Seduction, Spirit who cleans me inside out.
Yeye kari, Yeye’jo, Yeye opo, O san réré o. Mbè mbè ma
yeye, mbè mbè l’oro. Ase.
Mother of the mirror, Mother of dance, Mother of abundance, we sing your praises. Exist, exist always mother, exist always in our tradition. May it be so.
ire
baba

ITAN ODU OSA MEJI

II	II
I	I
I	I
I	I

OSA MEJI
(Iyáàmi and the Creation of the Egun Cloth)

Osa Meji tula. Obu yankan yankan. Ariwo ajija ni d'Orun. A d'ifa fun Odu n'ijo to n nti'kole Orun bo wa ile aiye. A d'ifa fun Obarisa, n'ijo ti o nti'kole Orun bo wa ile aiye. A d'ifa fun Ogun, n'ijo ti o nti'kole Orun bo wa ile aiye. Olodumare. O ni, ile aiye l'awon nlo yii. O ni, nigbati awon ba de ohun nko? Olodumare ni ki nwon o lo maa se ile aiye, ki ile aiye o dara. O ni gbogbo ohun ti nwon yio ba si maa se, o ni on o fun won l'ase ti nwon o maa fi se e, ti yio si fi maa dara. Ni nwon ni ki Ogun o siwaju. Nigbati Ogun siwaju, Obarisa tele e. Nigbati Obarisa tele e, Odu nlo kehin. Nigbati Odu wa kehin, ni Odu wa pada sehin. O ni, iwo Olodumare. O ni, ile aiye t'awon nlo yii, o ni, Ogun, o ni, o l'agbara Ogun jija, o ni, os si ni ida, o l'o mo ibon, o ni, o ni gbogbo nkan ti nwon fi jagun. O ni, Obarisa, o ni, on naa l'ase. O ni, ase re t'o ni ni fi ise gbogbo ohun t' oba fese, O ni, on je obirin ninu nwon, ni on Odu. O ni kini agbara ti on? Olodumare ni agbara tire? O ni, iwo l'o maa je iya won lo lailai, o ni, nitori nigbati enyin meteta nl o, o ni, iwo, obirin nikan ni o pada. O ni, iwo obirin naa ni on fun l'agbara, ti o o fi maa je iya nwon. O ni, iwo ni o o si mu ile aiye ro. Olodumare l'o ba fun un l'agbara. Nigbati o fun un l'agbara, o fun un l'agbara eiye, o gbe eleiye fun un. Nigbati o gbe eleiye fun un tan Olodumare ni too. O ni, igba eleiye ni on gbe fun o yii o, o ni, nje o mo lilo re l'aiye? O ni ki o mo bi o ti se maa lo o l'aiye. Odu ni on o mo. O gba eiye l'odo Olodumare. O si gba agbara ti yio tun maa lo l'ori re. L'o ba nlo. Orin sa a. Olodumare tun pe e pada. O ni o dara. O ni, pada wa. O ni, iwo Odu. O ni, pada wa. O ni, nigbati o ba de ile aiye, o ni, bawo ni o o tie ti maa lo awon eiye re? Ati awon agbara ti on fun e? O ni bawo ni o o ti se maa lo nwon? Odu ni, gbogbo eni ti ko ba ti gbo t'on, o ni, on o fi maa ba won je ni. O ni, eni, ti ko ba ya si alaye ti on, ti on ba se fun un, ti ko si gbo gbogbo ohun ti on ba so, o ni ni on o maa fi ba ja. O ni, eni ti o ba wa dimo on, ti o ba pe on o l'owo, o ni, on o maa fun un. O ni, eni ti o ba si pe on o bimo, oni, on o maa fun un. O ni ti on ba si fun enia l'owo naa tan, ti o ba tun yaju si on. O ni, on o gba a. O ni ti on ba si fun enia l' omo tan, ti o ba tun yaju si on, o ni on o gba a. O ni gbogbo ohun ti on ba se fun enia, ti o ba ti yaju si on, o ni, on o si maa gba a lowo re. Olodumare ni o dara. O ni ko buru. O ni sugbon maa rora lo ree lo agbara ti on fun o. Ti o ba lo o tipatipa on o ma gba a o, ati pe gbogbo awon okunrin t' o tele, iwo l'on o fi se iya won, ti o je pe gbogbo ohun yio wu nwon ba ni se, a fi bi nwon ba fi lo iwo Odu ni nkan un yio to se ise. Lati igba naa ni Olodumare ti fun obirin l'ase, lat'ori eni ti o si fun l'ase naa ni oruko re ne Odu. Ni o gbe gun obirin l'ase wipe, gbogbo ohun yio wu. Okunrin ko gbodo le da nkankan s e lehin obirin. Ni Odu mbo d' ode isalaiye, Nigbati nwon jo de ode isalaiye, gbogbo igbo ti nwon ri (ti won npe ni igbo Esgun) obirin ni o nwo o. Eyii ti nwon npe ni igboro, obinrin ni o nwo o. Ko si ewo kankan fun obinrin nigba naa, pe igbo kan wa ti obirin ko gbodo wo, tabi ika kan wa ti obirin ko gbodo wo. Bi nwon o bo Eegun, bi enia o bo Oro, bi enia o bo gbogbo orisa, obinrin ni bo o nigba naa, nigbati nwon wa mbo o bee. Ha! Agba ti o ba se aseju ti te nite. A d'ifa fun Odu, nigbati Odu de' le aiye. Ha! Nwon ni, iwo Odu, nwon i, oba le so ra re. Ki o se s e suuru, ki o ma yaju. Odu ni et iri? Nwon ni nitori agbara re, ti Olodumare fun un, nwon ni nitori ki aiye ma ba r'idi re. Odu ni howu! O ni, ko si nkankan. O ni nwon ko ni le r'i di re. O ni on nika l'o lo odo Olodumare. Lo ree gba agbara ti ko se oju gbogbo awon ti nwon jo mbo w'aiye, ko se oju won rara! Nigbati nwon wa so bee fun Odu tan, nwon, ni k'o rubo. Odu ni, rara! O ni, on ko ni rubo. Ebo ki obirin o ri agbara gba bo lati odo Olodumare, l'oru. Sugbon on ma le yo ayopere. Ki on o si le lo kini yii titi. Ki aiye o ma fi ba a je mo on lowo. Ki aiye o ma fi ri' di re. Ko rubo re. L'o ba nlo. O mu Eegun jade. O mu Oro jade. Gbogbo nkan, ko si ohun ti ki se nigba naa. Ni Obaisa wa ni, hen! On ti o je pe on ni Olodumare ko aiye le lowo. Ko je pe obirinbirin yii ni yio gba aiye naa, ati ika Eegun ni, ati ika Oro ni, ati ika gbogbo Orisa ni. On ko gbodo wo okankan ninu re. Ha! obirin yii ni yio wa gba gbogbo aiye naa, ni Obaisa ba lo ree ke si babalawo. Babalawo ti o loke si nijo naa, Orunmila l'o lo ke si nijo naa, Orunmila ga an l'o pe. O ni ki Orunmila o ye on lowo kan ibo wo? Ise ti Olodumare ran on yii: Ati ile aiye ti o ko le on lowo yii? On jise naa lajeyi. Enikankan ko si le gba ile aiye naa lowo on. Ile aiye naa ko baje. On ti se le segun? Nlo da' fa si. Nwon ni ebo ni ki Orisa oru. Nwon ni ki o se se suuru. Orunmila yan an l'ebo igbin nigba naa. O yan an ni pasan. Osi yan an ni egbaajo owo. Orisa rubo. Nigbati Orisa rubo tan, Orunmila se'fa fun Orisa. O ni, ile aiye yii o, o mbo wa di ti e o, o ni, sugbon, suuru ni ki o se o. O ni, ti o ba ti se suuru, o ni, mbo wa di ti e. O ni, eni ti nwon gbe agbara fun l'obirin. O ni, yio fi as eju bo o. Nigbati o ba f'ase ju bo o, o ni, yio wa di omo lehin iwo Ori sa, yio maa wa teriba fun o, Orisa si gbo, ose suuru. Gbogbo iwa eyii t'o dara, eyii ti ko dara, ti Odu nhu nile aiye, ti nfi agbara ti Olodumare fun hu: Ti o ba ni enikan ko maa wo on l'ofu, eni ti o ba wo o, oju re yio fo. Ti o ba ni enikan wo on ni iwo ti ko dara, ti o ba pe ori o maa fo o yio maa fo o naa, ti o ba pe inu o maa run un, inu yio maa run un. Gbogbo ohun ti Odun ba so nigba naa ni maa se. Nigbati o wa ya ni Odu ni, iwo Ori sa, o ni, nigbati ose pe awon dijo waiye naa ni, o ni, je ki on re o wa ni ibi kan naa. O ni, ti awon ba wa ni'bi kan naa. O ni, gbogbo ohun ti on ba fe se, o ni, on o maa r'aaye je ke iwo Ori sa, ki o maa ri gbogbo ohun ti on ba nse. O ni nitoripe awon pelu re. Ni awon jo ro lati ode Orun w'aiye ati Ogun. O ni, sugbon ologun ni nwon yan fun Ogun wipe, eniti o ba fe ba won jagun, ki Ogun o ba won segun re. O ni, ni won yan Ogun fun awon si. Ni Odu pelu Obaraisa, ni won ba jo ngbe oju kannaa. Nibi ti nwon gbe jo ngbe ojukannaa, igbin ti Orisa fi rubo, Orisa mu u, o fi nbo ori re. Nibi ti Orisa ngbe fi igbin bo ori re. Nigba Orisa bo'ri tan, o si mu omi igbin yii. Nigbati o mu omi igbin, o ni, iwo Odu, abi iwo naa o mu bi o? Odu naa ni ko se nkankan. Odu naa gba omi igbin, o mu u. Nigbati Odu mu omi igbin tan, inu Odu nro diedie. Nibi ti inu re gba nro, o ni ha! O ni, iwo Obarisa, o ni, o ma tie mo nkan t'o dun je. O ni ase omi igbin dun bayi ati igbin naa ase o dun bayi? Nigbati oje tan, o ni o dara naa. O ni, lailai nwon ko gbodo fun on naa ni nkan miran ju igbin lo. O ni, igbin naa ni ki won o si maa fun on. O ni, igbin ti iwo Orisa yii naa nje gan an, o ni, nwon o maa fun on. Orisa ni on ko pe ki nwon ma fun o nigbin, o ni, sugbon agbara tie ti o o fi han, o ni nikan ni o ndun on. O ni, gbogbo ohun yio ku ti on ba ti ni, o ni, on gbodo fi han iwo Odu. Orisa wi bee. Nigbati Orisa so bee tan, Odu ni nigbati o ti di pe on wa joko tio ti on pelu re ngbe loju kannaa, o ni, t' o si j e pe gbogbo nkan ti iwo ba nse ti o o fi kankan pamo fun on. O ni, gbogbo ohun ti on naa ba maa nse poo on ko ni fi kokan pamo. O ni, ki o le baa maa ri gbogbo ise ti on o maa se ati gbogbo iwa ti on o maa hu.O ni, no on se wa joko pelu r e nibi kannaa. Obarisa, o ni, ko buru. Nigbati Orisa ni ko buru tan nwon jo ngbe. Ti nwon njo gbe nwon fe bo Eegun. Odu un gbe nkan ti nwon o fi bo Eegun, gbe e lo s'ika Eegun. O ni, k'Obarisa o kalo. Ha! Obarisa ni eru mba on. O ni ki o kalo. Obarisa tele e. Nigbati Obarisa tele e wo igbo Eegun tan. Nwon ba bo Eegun. Nigbati won bo Eegun, Odu o mo aso da bori. Sugbon ko mo bi nwon ti se dun' gun, bi nwon ti se f'ohun ara Ourn. O kan mo aso da bori, o si le s'adura gegebi enia. Sugbon ko mo gegebi nwon ti se nf'ohun ara Orun. Nigbati ose'bi ti nwon bo Eegun tan, Odu si mu aso, o da a bori, o nse adura fun eni jti o gbe onje wa. Nigbati o nse adura fun un tan, o jade. Nigbati o jade tan on (ati) Obarisa, o wa di igba ti nwon wole. Ni Obarisa wa lo si'bi aso. Aso Eegun ki iti l'awon tele tele ri. Orisa l'o fi awon kun un. Awon ti Eegun maa fi riran un. Aso lasan ni eegun wa nigba naa. Nigbati obirin fi nse Eegun, aso lasan ni, nwon yio si lu oju r e pe ki awon maa fi riran diedie. Ko si awon lu lu niwon lu Eegun loju nigba naa. Sugbon nigba ti Obarisa wa de ibe. Obarisa wa fi awon kun un, lehin ti nwon de ile tan, l'Obarisa wa tun lo si ika Eegun. O gbe Eegun, o re oju re, o f'awon si i. Nigbati o f'awon si tan lo ba da Eegun bori. Nigbati o da aso Eegun bori tan, o mu ore l'owo, mimu ti o mu ore l'owo, ko da gbere fun Odu, wipe o los' ika Eegun n'ibi ti o gbe jade. Ni Obarisa ba f'ohun Eegun. O f'ohun Eegun, nwon ko da ohun re mo mo. Ose adura, nwon ko da ohun re mo mo. Eni ti o bo Eegun o ni hen! o ni ha! O ni Eegun ti on maa bo maa gba o. O ni ara Orun l'o w'aiye yii. O si mu ore l'owo. Ore ti o mu l'owo un, o nfi or eyen wo'le. O si nf'ohun Eegun. N'ibi ti o gbe nf'ohun Eegun. O tun di nkan ti nab Odu naa leru. Ha! Ha! Nigbati on nda aso bori on ko mo iru eleyi wi! Ha! Ha! Tani o ti yara bo sinu aso yii? Ti o si ti yara nfo iru ohun bayii? Ogbon ni okunrin fi gba agbara. Ati gbogbo ogbon ti obirin gbon, ogbon ni okunrin fi gba l'owo awon obirin. Ni Olodumare koko ko ogbon ati agbara eleiye ti obirin. Sugbon ogbon ati etan ni okunrin fi gba ogbon l'awon obirin. Nigbati Odu ti ri i pe Eegun yii mu ore l'owo, on naa nsa fun un, o tun di ohun ti eru nba. Obarisa o gbe Eegun yii kaakiri gbogbo ilu. Odu si ti ri wipe aso on ni. Nigbati o ri i aso on ni. O ni ta wa ni eleyii? Ko si ri Obarisa nile. O ni abi Obarisa naa ni? Ni Odu ba duro nile. L'o ba ran eiye re O ni ki o lo bale e ni ejika. Ni nwon ba jo nlo. Gbogbo nkan ti Eegun ba ti wi, ni nse ni agbara eiye, ti o bale e ni ejika. Nigbati gbogbo ohun ti o wi wa nse tan, ti o wa dari de'le. O dari di ika Egun. O bo'ra sile. O fi or e sile. O mu ewu re wo. O jade. Eleiye o ti lo si odo eni t'o ni i. Nigbati o wa wole, Odu si ki i. O ni kaabo. O ni nibo l'o wa lo? Obarisa ni, on lo si ode ni. Odu ni, ko buru. O ni kaabo. Obarisa si da gbogbo nkan ti o gba bo sile. Nigbati o da a sil e tan, Odu ni o dara naa. O ni se aso Eegun on naa l'o gbe lo si ode? Obarisa ni on naa ni. Odu ni nigbati iwo bo sinu Eegun un. O ni, oye o ju to on gan an ti on maa nse e lo. O ni, gbogbo enia, o ni, nwon npe Eegun ree, Eegun ree! O ni, nwon nkigbe mo. O ni, nfi ore wo'le. O ni, o tie niyii. O ni, lati oni lo. O ni, on yoda r e fun okunrin. O ni, lati ori ti on, o ni, obirin kankan ko gbodo wo nu Eegun mo. O ni, l at'ori Orisala, o ni, on yoda Eegun fun okunrin. O ni, sugbon ti on naa nlo ode, o ni, on ni on o maa ni agbara ti maa lo. Idi re niyii Eegun pelu eleiye nwon fi tun ni irepo. Nibi ti Eegun ba wa, nibe ni awon eleiye wa. Gbogbo agbara ti Eegun si nlo, agbara eleiye ni. Ni Odu ba ni on ko gbo do ri ki obirin kankan ko bo sinu Eegun mo, sugbon bi Eegun o be maa lo ree se alajoko, Ti o je wipe ti Eegun ba lo sode, ti o maa je niwaju re. Ti yio maa jo ko Eegun lona. O ni, eyun un nikan ni ki obirin o maa se. O ni obirin ko tun gbodo wo ika mo. O ni lati oni lo okunrin naa ni k'o maa gbe Eegun ki o si maa mu Eegun jade. O ni, sugbon gbogbo, ati omode, ati agba, enikookan ko wa gbodo fi obirin sere, o ni, obirin nl o ni agbara julo lorile aiye. O ni, obirin si tun ni o bi wa. O ni, gbogbo enia, obirin ni o bi nwon. O ni, gbogbo ohun ti enia ba nse. Ti ko ba fiti obirin kun un, o ni, ko le sese. Idi re ni i okunrin ko fi le da nkankan se laiye, bi ko se pe o l'owo obinrin. Ni nwon ba nkorin. Ni Obarisa naa ba nkorin. Nigbati o ba di Orun ti nwon o ba se ose. O ni, gbogbo orin ti nwon o maa ko yii o, lati inu Osa meji. O ni, ki nwon o maa fi iba fun obirin, o ni, ti nwon ba ti nfi iba fun obirin, ile aiye yio maa toro. Ni nwon ba nkorin bayii wi pe;

E kunle o, e kunle f'obirin o. E obirin l'o bi wa. k'awa to d'enia. Ogbon aiye t'obirin ni, e kunle
f'obirin o. E obirin l'o bi wa o, k'awa to d'enia.

Osa Meji is rich, powerful cosmic scream. Ringing bells arrive from the vaults of Heaven. ifa was consulted for Odu on the day Odu was making the journey from Heaven to Earth in the company of Ogun and Obarisa. Odu was the only women among them. She asked Olodumare what would happen when we arrive in the world? Olodumare said the world would be good. He said everything they will want to accomplish would be done because he will give them the power. It will be good. (This is a reference to the Ifa belief that life is designed to work and the people on earth are born with the potential for a good life)

Ogun walked in front. When Ogun walked in front Obarisa followed and behind Obarisa came Odu. She asked Olodumare about the world. She said Ogun has the power to fight. He has the gun he has the weapons necessary for victory. She said Obarisa has power, the power of Obarisa makes anything he wants manifest. She said she is the only woman among them and wanted to know her power.

Olodumare said for all of time you will be called Mother. He said you were the only one who traveled to Earth and returned to Heaven. Only the women among them returned. He said you will up hold the world Olodumare will give you that power. He said I will give you the power in the form of a bird. Olodumare said it is good. (Women have the ability to communicate directly with the Immortals through their ability to use the bird to transcend the boundaries of time and space)

Olodumare asked Odu if she knew how to use the bird in the calabash. He said you will know how to use it. Odu received the bird from Olodumare and received the power to use it.

Odu departed as she was leaving Olodumare asked her to return. He said come back. He said you Odu when you arrive on earth how are you going to use the power of the bird, the power I have given you?

Odu said she would fight with the people who would not listen. She said those who do not listen to the will of Olodumare she will fight with them. She said those who would ask for wealth she would give it to them. She said those who wanted children she would give them children. She said if someone receives wealth and become impertinent she will take it away. She said if someone gives birth to a child and they become impertinent she will take it away. She said anything she did for a person if they became impertinent she would take it away.

Olodumare said this is good but you must use this power with calm and for the good.

If you use it for bad things and cause violence, I will reclaim this power. All the men who follow you, I have made you their mother, anything they wish to do they must speak to you first.

It is from this very ancient time that Olodumare has given the power to woman because it was she who received the power of Odu. He gave women the power of the word. (The power of the word given to women is based on the relationship between children and their mothers who prior to puberty are dependant on their mothers for survival. Odu means womb and Odu refers to any opening between Heaven and Earth or the visible and the invisible realms of existence. The womb is such an opening because it allows for the movement of the human soul between the land of the ancestors and the land of the living through the process of reincarnation.)

Man alone is unable to do anything. Odu arrived in the world. When they all gathered in the world they saw the forest of the dead and it was woman who entered the forest. It was the forest of Oro that woman entered. During this time there was no prohibition against woman entering the forest of Oro. At this time women worshiped all the Orisa. They had full knowledge of all the inner mysteries.

Woman acted in disgrace and Odu consulted Ifa. The elders said Odu you must act in calm you must have patience, you must not be imprudent. Odu said why? They said because of the power that Olodumare has given you, in the that the people will not know the reason it has been given to you. Odu said she does not know the reason it was given to her. She said she alone was called before Olodumare. She received the power from Olodumare after the others arrived on earth. They said Odu must make sacrifice. She said she would not make ebo because the ebo was already made. The offering for woman to receive power was made in the presence of Olodumare. They said she must not become overconfident in joy because she is capable of using these powers for a very long time. The world will not be able to destroy that which she has in her hands. The world will not know the root of her power. Odu refused to make the sacrifice. (At some point in the history of Yoruba culture the power of women was abused through arrogance.)

Odu departed without making ebo. She brought the cloth of Egun outside. She brought Oro outside. Obarisa came and said it is the one to whom Olodumare confided, the energetic woman has come to take the world, to take the inner sanctum of Egun and the inner sanctum of Oro and the shrines of all the Orisa. Obarisa would not dare to enter any of these places.
Obarisa consulted Ifa. It was Orunmila who cast Ifa for Obarisa. Orunmila said the message from Olodumare is this you will take the world in your hands. The world will not be spoiled. No one person will take the world in their hands. (This speaks of a gender conflict in the history of Yoruba culture over the question of who would be the keepers of certain mysteries, men or women. This issue has shifted throughout history and continues to shift into modern times)

How then will Obarisa be victorious. He consulted Ifa and was told to make ebo. Ifa said he must be patient. He must sacrifice snails, a whip-like stick, and cowries. Obarisa made the ebo. When Obarisa made the ebo Orunmila consulted Ifa. Orunmila said that the world would belong to Obarisa, but you must have patience. He said worship will become yours. He said that which carries the power of woman will be exaggerated. When it is over done she will become your servant. Obarisa understood and said he would have patience. (Ifa is based on the notion of a balance of power between male and female principles. At times this balance is disrupted by an over emphasis on one side or the other as social situations cause tension and an ebb and flow in the balance of power)

All of the customs, those that are good and those that are bad, brought to earth by Odu with the power given to her by Olodumare include the taboo against looking at her material form. If the taboo is violated she will make the person blind. If she says the gaze of someone is evil, if she says a person is going to have a headache, they will have a headache, if she says they will have stomach pain, they will have stomach pain. All things said by Odu will come to pass.

When the time came Odu said Obarisa we have come to earth together. She said come they had come to the same place. She said if we are in the same place she would allow Obarisa see anything she wanted to do. (This is a reference to a historical time when men learned awo from women)
She said because Obarisa and Ogun fell from the sky together they chose Ogun to be a warrior. Those who wanted to make war would not be victorious against Ogun.

She and Obarisa needed to live together in one place. At the place where they came together they must stay. The snail offered by Obarisa was used to praise his head at the place where he lived. The liquid from the snail was used to drink. Obarisa did not want to drink the water from the snail. Odu drank the water from the snail and her stomach became calm. She told Obarisa that because of him she had discovered something delicious to eat. She said the snail water is sweet and the snail itself is sweet. When she finished eating she said it was good. She said no one has ever given me anything as good to eat as a snail. She said a snail is what one must give me to eat. (Snail is a traditional offering to the Odu pot) She said the same snail that is given to you must be given to me. (This verse suggests that men and women learned from each other)

Obarisa said he would give her snails. He said the power you do not give me bothers me. He asked her to show him the things she possessed. She said when he comes to live with her in one place he must not hide anything from her. She said she would not hide anything from him. She said he will see all of her works and procedures. She said we will live in one place. Obarisa said this was not bad.

Odu brought the things needed to worship Egun into the inner sanctum of Egun. She said Obarisa should follow. He said he was afraid. She said follow her and he followed her. When Obarisa followed her he entered the forest of Egun. They worshipped Egun together. But she did not show him how to make the sound of Egun. (Meaning how to go into possession) She did not know how to make the voice of Egun. She did know how to speak with the Immortals in Heaven. When they worshipped Egun Odu took the cloth she covered herself and gave thanks for her nourishment. When she finished her propitiations she left. The time had come for her and Obarisa to go to their dwelling place.
Obarisa went to the place of the cloth. The cloth of Egun did not have cloth streamers. He added the streamers. The streamers allowed Egun to see. When women made Egun the cloth was simple and the made the face in a way that did not allow Egun to see. When Obarisa arrived he added the streamers. Before they reached their home Obarisa went to the rear court of Egun. He took the cloth of Egun and cut the face opening and placed streamers in the opening. When this was done he covered himself with the cloth. He took a whip into his hands but he did not say goodbye to Odu. He said he was going to the rear court of Egun, the place where Egun came out.
Obarisa spoke with the voice of Egun and they did not recognize his voice. He said his prayers and Egun said Hen. He said Ha. One who wished to praise Egun says Hen and he said Ha. He said the Egun he praises is infallible. He said when he came from Heaven to Earth one of the people from Heaven came to earth with him. He took the whip and dragged it on the ground. At his home he spoke with the voice of Egun and Odu became frightened. When she brought the cloth she did not know this way of speaking She asked who has entered this cloth, who speaks to quickly and with such a voice? With insight men take power. (Egun mediums were originally women and at some point men took over the Egun dance)

Olodumare first gave the wisdom to women and he gave the power of the birds to women. When Odu saw that Egun had a whip in hand she ran away. Obarisa carried the Egun and entered the town. Odu saw the cloth was her own. She asked is that Obarisa? She remained in her house and sent her bird on a mission. She said the wing must rest on the shoulder of Egun. They must go together. Everything that egun says will be activated by the power of the bird perched on his shoulder. When everything he says has become manifest he will return to the rear court of Egun. (The power of the male Egun society is supported by the power of the women's society)

Obarisa undressed on the ground. He placed his whip on the ground. He dressed himself. He left. The bird went to its owner. When Obarisa came home he was greeted by Odu. She said welcome. She said where did you come from? Obarisa said he came from outside. Odu said that is good you are welcome. (It is taboo to know the identity of Egun mediums) Obarisa dumped all of his things on the ground and Odu said this was good. She said it is the Egun cloth that you have taken outside. Obarisa said yes. Odu said it is good. She said you have shown me what I must do. She said people behold Egun. She dragged the whip over the ground and said the honor is for you. She said today I will leave. She said I concede Egun to man. She said because of me no woman will every dare to enter into the Egun cloth she said she has given the Egun to men. She said he must go outside with Egun because she has the power that Egun utilizes. She said Egun is compatible with the birds. At the place where Egun manifests, there also the birds appear. All the power used by Egun comes from the birds. Odu said no woman will ever enter the Egun cloth, but she will be able to dance, to meet Egun and dance in front of Egun if Egun is outside. She said Egun departs today and it is man who will guide Egun. (To the uninitiated it would appear that Egun worship is male dominated. This verse is saying that Egun is supported by the power of women.) She said all things the people wish to do are aided by women. That is why men are unable to do anything on Earth, if the do not obtain the hand of woman.

They chanted, on the fifth day they celebrated the week. They said all the incantations they would chant would come from the holy Odu of Ifa called Osa Meji. (The power of women in Osa Meji is the gateway to the land of the ancestors) They said they will praise the women, they said if they praise the women the Earth will be tranquil. They chanted:

Prostrate, prostrate for the women.
Woman has placed you in the World, thus you are humanity.
Woman is the intelligence of the Earth,
prostrate for woman.
Woman has placed you in the World, thus you are humanity.