Oríkì: Praise Poetry

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Ọ̀ṣogbo (Osogbo)
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Original
Osogbo Oroki asala omo onile obi, Osogbo ilu aro, omo dede bi okun, are o peta, arepeta mogba o, esuru ni won jesun lode Osogbo, aro n be l' Osogbo lo' Osogbo se n wun ni, esuru n be l' Osogbo l' Osogbo se n wun ni; Osun n be l'Osogbo l'Osogbo se n wun ni; t' arugbo t' majesin, a o jo sun ilemo l'Osogbo ni. Osun Osogbo pele o, eyin olomoyoyo; Osogbo oroki gbe onile, otun gbe ajoji Osogbo oroki, Osogbo oroki omo yeye Osun, yeye atewogbeja, aniyun labebe oroki ti eja oroki ti iba eja n la soro, t' ran iko ni se, Osun Osogbo, rere ni o sun fun mi Oroki onile obi, alaro omo asala Edumare bawa da ilu Osogbo si; Ase.
Idiomatic English
Osogbo Oroki a refuge outpost, owner of a large kolanut farm; Osogbo-city-of tie-dye, custodian of strong dye like a blue sea. when a sojourner does not kill civet cat or does kill, it belongs to me; bitter-water-yam-dinner in Osogbo inner city. For her quality dye, Osogbo beckons to all and sundry. Her plenty bitter-water-yam makes Osogbo alluring and inviting; also home to Osun goddess that makes Osogbo very enticing; without dubiety-old and young live together. Osun goddess-greetings-mother of many children, city that cares for both the natives and residents, Osogbo Oroki-children of Osun goddess, matriarch with defensive open-palm, town that converses with behemoth fish that sends representative; Osun Osogbo, it is well; give me water. Oroki owner of a large kolanut farm, dyer-children from refuge outpost. May God protect Osogbo and her children. So Be It.
Na who translate am edusocom
The poem celebrates Osogbo's identity as a city of refuge, indigo/tie-dye crafts (ìlú aró), kolanut cultivation (onílé obì), hospitable shelter to indigenes and strangers alike (gbé onílé gbé àjòjì), and its foundational spiritual bond with the river goddess Ọ̀ṣun and the sacred messenger fish (ẹja).
When dem dey perform am
Performed during traditional town assemblies, the annual Ọ̀ṣun-Ọ̀ṣogbo festival, royal palace ceremonies, cultural celebrations, and life-cycle rituals of Osogbo indigenes.
Who dey perform am
Akéwì (oral poets), traditional praise singers, elders, women chanters, and devotees of Ọ̀ṣun.
Di lineage or town
Ọ̀ṣogbo (Osogbo), Osun State, Nigeria
Di different versions
Variants include praise lines highlighting the 16-point lamp (àtùpà mẹ́rìndínlógún), connections to Ọ̀ràngún, and invocations of early rulers such as Ọba Láròóyè.
Di source wey dem cite
- edusocom, OSOGBO OROKI EULOGY, 2018 https://edusocom.blogspot.com/2018/09/osogbo-oroki_14.html=
Di pages wey di search bring back (1)
- 1. edusocom.blogspot.com
Ìwó (Iwo Town & Lineage)
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Original
Ìwó olódò ọba, Ọmọ a-tẹní-gbọ́lá, tẹní gbóore nílé ọdídẹrẹ́. Ọmọ ọba Télumọ̀rẹ́, a-fìpòrò-jẹ ọmọ tó lùgbẹ́rin gbẹrin. Ìwó tí kò nílẹ̀kùn bẹ́ẹ̀ ni kò ní kọ́kọ́rọ́, Ẹrú wẹ́wẹ́ ni wọ́n fi ń dẹ́lé. Ẹrú kò gbọdọ̀ jẹ́ mogberin, Ìwọ̀fà kò gbọdọ̀ jẹ́ mogbede, Ọmọ bíbí inú wọn níí jẹ́ moderin. Ìwó tọ́dídẹrẹ́ pépépé tẹ́nu rẹ̀ tẹ̀ k'ọ́rọ̀yin.
Word-for-word gloss
- Iwo, possessor of the Oba river; offspring of those who spread mats to receive honor, spread mats to receive goodness in the home of the African grey parrot; children of Prince Telu who rule with royal stature; Iwo that needs neither doors nor key locks because vast numbers of retainers watch the house; slaves cannot answer to noble titles, pawns cannot answer to privileged calls, only direct born offspring bear the noble name; Iwo where the parrot sounds crisply and curls its beak in sweetness.
Idiomatic English
Iwo, guardian and master of the sacred River Oba, Offspring of those who spread their mats to welcome wealth and honor in the ancestral land of the parrot. Descendants of Prince Telumere, of regal lineage and triumphant authority. Iwo, a town that boasts no need for wooden doors nor metallic locks, For legions of young retainers and loyal servants safeguard every household. A slave dare not answer to the title of the freeborn, A pawned laborer dare not claim the legacy of the heir; Only the true-born sons and daughters carry the lineage’s proud name. Iwo, where the vibrant parrot calls distinctly and curves its beak in blessing.
Di source no name any translator.
The chant celebrates the historical origin, royal founding, wealth, sovereignty, and distinct social structure of Iwo. It highlights River Oba which flows through the kingdom, the sacred symbol of the parrot (ọdídẹrẹ́) connected to Prince Adekola Telu's migration from Ile-Ife, and the aristocratic pride of freeborn indigenes.
When dem dey perform am
Recited during royal installations, civic gatherings, civic festivals, naming ceremonies, funerals of prominent elders, and morning lineage eulogies by family chanters.
Who dey perform am
Traditional palace bards (akéwì / akígbe), elderly women chanters, drummers (onílù / alágbe), and family elders.
Di lineage or town
Ìwó (Osun State, Nigeria)
Di different versions
Ìwó olódù ọba; Ọmọ a-tẹní-gbọ́lá, a-ṣàdúà-gbóore; Ìwó ọmọ olóola tí ń san kéké; Ìwó Gè̀rí Màlámì.
Di source wey dem cite
- Yoruba Library Heritage Repository, Oriki Ilu Iwo - Read Full Eulogies of Iwo Town / Documents on Yoruba Oral Heritage, 2023 https://yorubalibrary.com/topic/oriki-ilu-iwo-osun-state
Di pages wey di search bring back (10)
Ọbàtálá (Òrìṣà-Ńlá)
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Original
Aláṣẹ! O sọ ẹnìkan ṣoṣo di ìgbà ènìyàn / Sọ mí di irínwó, sọ mí di igba / Sọ mí di ọ̀tálélẹ́gbẹ̀je ènìyàn / Òrìṣà! Bàntà-banta nínú àlà / O sùn nínú àlà / O jí nínú àlà / O ti inú àlà dìde / Bàbá ńlá, ọkọ Yemòwó! / Òrìṣà wú mi ní ibùdó / Ibi rere lórìṣà kálẹ̀ / Òrìṣà-Ńlá, ọ̀ṣẹ̀rẹ̀ màgbọ́ / Ẹni tí wọ́n bí lódè Igbó, tó lọ jọba lódè Ìranjẹ / Òrìṣà-Ńlá Alábàláṣẹ / Òbàba arúgbó, Òrìṣà gbingbinnikin
Word-for-word gloss
- Aláṣẹ (Owner of authority)! / He who turns a single person into two hundred people / Turn me into four hundred, turn me into two hundred / Turn me into one thousand four hundred and sixty people / Òrìṣà! Immense in white cloth / He sleeps in white cloth / He wakes in white cloth / He rises from within white cloth / Venerable Father, husband of Yemòwó! / The Òrìṣà delights me where he is established / It is a good place where the Òrìṣà is enthroned / Òrìṣà-Ńlá, Ọ̀ṣẹ̀rẹ̀ Màgbọ́ / The one born in the town of Igbó, who went to reign as king in Ìranjẹ / Òrìṣà-Ńlá, holder of supreme command / Venerable old father, massive and weighty Òrìṣà
Idiomatic English
O Sceptre-Wielder! O You who multiply only one into two hundred persons! Multiply me into four hundred, Multiply me into two hundred, Multiply me into one thousand four hundred and sixty persons. Orisa! The Immovable! The Noble One! He-who-lives-daily-in-gorgeous-greatness; Immense in white robes! He sleeps in white clothes, He wakes in white clothes, He rises in white clothes. Venerable Father! Yemowo's consort! Orisa delights me as he is in state; It is a delectable place where Orisa is enthroned.
Na who translate am E. Bolaji Idowu / Ulli Beier
The poem invokes Ọbàtálá as the arch-divinity clothed in pure white cloth (àlà), the creator who multiplies human offspring and bestows fertility, the husband of Yemòwó, and the ancient ruler linked to Igbó and Ìranjẹ.
When dem dey perform am
Chanted during annual Ọbàtálá festivals, temple morning devotions, invocations for childbearing and blessings, and priestly initiations.
Who dey perform am
Ọbàtálá priests (Àwòrò Òrìṣà-Ńlá), priestesses (Ìyárìṣà), and devotees seeking fertility or spiritual elevation.
Di lineage or town
Ìranjẹ / Ilé-Ifẹ̀ / Ifọ́n / Igbó
Di different versions
Variants include additional praise phrases such as 'Òrìṣà Adìmúlà' and 'Olójú kára bí ajere'.
Di source wey dem cite
- E. Bolaji Idowu / Ulli Beier, Olodumare: God in Yoruba Belief / Yoruba Poetry, 1962 / 1970 https://scribd.com
Di pages wey di search bring back (20)
Ọbàtálá (Alábàláṣẹ / Ọba Ìgbò)
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Original
Ọbànlá ó rìn n'ẹ́rù ojíkutù s'ẹ́rù / Ọba n'ílé Ifọ́n alábàláṣẹ ọba pátápátá n'ílé Ìranjẹ / Ó yọ̀ kẹ́lẹ́kẹ́lẹ́ ó tá mi l'ọ́rẹ / Ó gbà á gírí l'ọ́wọ́ òṣìkà / Ó fi l'ẹ́mìí aṣòtítọ́ l'ọ́wọ́ / Ọba Ìgbò olúwayé re e ó kẹ́ bí òwú là / Ó yí àlà / Ó sùn l'àlà ó fi kókó àlà rúmọ / Ọba Ìgbò / Àṣẹ!
Word-for-word gloss
- Great King who walks without fear, who wakes early and commands fear / King in the home of Ifọ́n, owner of divine authority, total king in the home of Ìranjẹ / He rejoices quietly and gives me gifts / He swiftly snatches [blessings] from the hand of the wicked / He places it into the hand of the honest person / King of Igbó, Lord of the Earth, who is soft and pure like opened cotton / He wraps in white cloth / He sleeps in white cloth and wraps himself entirely in white cloth knots / King of Igbó / May it come to pass!
Idiomatic English
Chief of the White Cloth never fears the coming of Death. Father of Heaven forever rule for all generations. Gently dissolve the burdens of my friends. Give me the power to manifest abundance. Expose the mystery of abundance. Father of the sacred grove, owner of all blessings increase my wisdom so that I become like the White Cloth. Protector of White Cloth, I salute you. Father of the Sacred Grove. Ase.
Na who translate am Documented Traditional Liturgical Translation (Isese / Diaspora lineage compilations)
Presents Ọbàtálá as the fearless, upright divine ruler of Ifọ́n, Ìranjẹ, and Igbó who rewards the truthful, dispossesses the wicked, and embodies the luminous softness and purity of white cotton and robes.
When dem dey perform am
Recited as an invocatory opening praise prayer (ìwúre/oríkì) during morning shrine libations, offerings of cool water and snails, and annual rites.
Who dey perform am
Priests of Ọbàtálá, Babalawo invoking Òrìṣà-Ńlá in ritual ceremonies, and devotees.
Di lineage or town
Ifọ́n / Ìranjẹ / Igbó
Di different versions
Variants replace 'o fi l'ẹ́mìí aṣòtítọ́ l'ọ́wọ́' with 'o fi l'ẹ́mi aṣòtó l'ọ́wọ́'.
Di source wey dem cite
- Documented in ethnographic studies by Pierre Verger / Traditional Liturgy, Oriki Obatala: Sacred Poetry and Prayers of the Orisa Tradition, 1957 / 2014 https://scribd.com
Di pages wey di search bring back (20)
Ọbàtálá (Òòṣà Gbigbinnikin / Ọba Òkè)
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Original
A dákẹ́ sírisiri dá ẹni lẹ́jọ́ / Ọba bí ọjọ́ gbogbo bí ọdún / Àlà, àlà, níkí-níkí oní pànpẹ́ òde ọ̀run / Ó dúró lẹ́hìn olóòótọ́, ọ̀rọ̀ ọkọ abuké / Òṣàgiyán jagun ó fi irùngbọ̀n ṣe pẹpẹ ẹnu / A jí gba aṣá / Tí ń tẹ ọ̀pá oṣòró, Òrìṣà Olú Ifọ́n / Lásìkò fún ni l'álà, mú mi l'álà mú sọ kọ / Ó ṣe ohun gbogbo ní funfun ní funfun / Pìrlòdì àká tí òkè / Ajàgùnnà wá gbà mí, o Ajàgùnnà tí ń tẹ ojé. Àṣẹ.
Word-for-word gloss
- He who remains calm and silent while judging a person / King whose every day is celebrated like a festival / Pure white, dazzling white cloth, holder of heaven's handcuffs / He stands behind the truthful one, protector of the hunchback / Òṣàgiyán the warrior who makes his beard a platform for the mouth / Who awakens to maintain 200 ancestral traditions / Leaning on the sacred metal staff, Òrìṣà, Lord of Ifọ́n / The timely giver of white cloth, give me white cloth to wear / He creates all things in immaculate whiteness / Colossal like a hill-top granary / Ajàgùnnà come save me, O Ajàgùnnà who leans on lead/white metal. Àṣẹ.
Idiomatic English
He is patient. He is silent. / Without anger he pronounces his judgment. / He is distant, but his eye rests on the town. / He kills the initiate and rouses him to new life. / He is playful like death he carries the child away. / He rides the hunchback, he spreads out his arms the right and the left. / He stands by his children, he lets them succeed. / He makes them laugh - and they laugh. / Immense granary of the sky. / Old man with the strength of youth... / Obatala: you turn blood into children, come and create the child in my own belly.
Na who translate am Ulli Beier
Praises Ọbàtálá in his aspect as the silent and just cosmic judge (A dákẹ́ sírisiri), the protector of physically deformed people such as hunchbacks (abuké), the creator who turns blood into infants, and the warrior king Òṣàgiyán/Ajàgùnnà of Ejigbo and Ifọ́n.
When dem dey perform am
Chanted during festive worship, judicial reconciliations at Ọbàtálá groves, prayers for children, and the annual festivals of Òṣàgiyán in Ejigbo.
Who dey perform am
Òrìṣà/Ọbàtálá priests, ritual bards, and devotees.
Di lineage or town
Èjìgbò / Ifọ́n / Ilé-Ifẹ̀
Di different versions
Recorded with variations invoking both Òṣàgiyán and Ajàgùnnà, or adapted as praises for Ọ̀ṣanlá.
Di source wey dem cite
- Ulli Beier, Yoruba Poetry: An Anthology of Traditional Poems, 1970 https://scribd.com
Di pages wey di search bring back (20)
Ògún (Ògún Méje / The Seven Manifestations of Ogun)
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Original
Ògún méje logun mi, Ògún Alárá ni n gb'ájá, Ògún Oníre a gb'àgbò, Ògún Ìkọ̀lé a gb'ágbín, Ògún Gbénàgbénà oje igi níí mu, Ògún Ìlá a gb'ésun iṣu, Ògún Akirin a gb'awo àgbò, Ògún Elémono ẹran ahun ní jẹ, Mákindé ti dogun lẹ́yìn odi, Bí o bá gba Tápà a gb'Ábókí, A gba Ukuuku a gba Kèmbèrí.
Word-for-word gloss
- Ògún seven is-Ògún mine / Ògún of-Alárá is he takes-dog / Ògún Owner-of-Ìre will take-ram / Ògún Ìkọ̀lé will take-snail / Ògún Woodcarver sap of-tree is-what drinks / Ògún Ìlá will take-roasted yam / Ògún Akirin will take-skin of-ram / Ògún Elémono meat of-tortoise is-what eats / Mákindé who becomes-war behind boundary-wall / If he should take Nupe he will take Hausa / He takes Ukuuku he takes Kanuri.
Idiomatic English
My Ògún manifests in seven different ways: Ògún of Ilara accepts a dog as offering, Ògún of Ire accepts a ram, Ògún of Ikole accepts a snail, Ògún of woodcarvers drinks tree sap, Ògún of Ila accepts roasted yam, Ògún of the Akirin people accepts the pelt of a ram, Ògún of the Elemono people eats tortoise meat. Makinde who wages war beyond the city walls, If he captures a Nupe, he captures a Hausa, He captures the Ukuuku, and captures the Kanuri.
Na who translate am John Mason / Sandra T. Barnes
This classic oríkì enumerates the seven major manifestations, cult centers, and guild avatars of Ògún across Yorùbáland, detailing the distinct propitiatory sacrifices (ẹbọ) prescribed for each shrine, and hailing his military prowess across distant non-Yorùbá ethnic territories (Nupe, Hausa, Kanuri).
When dem dey perform am
Chanted during annual Ògún festivals, sacrificial offerings at shrines, smithies, hunting consecrations, and the opening of sacred rites.
Who dey perform am
Hunters (ọdẹ), blacksmiths (alágbẹ̀dẹ), priests of Ògún (olórìṣà / aworo), and oral poets chanting ìjálá.
Di lineage or town
Pan-Yorùbá (specifically naming Ìlará, Ìre, Ìkọ̀lé, Ìlá Ọ̀ràngún)
Di different versions
Variants replace specific sacrificial animal names or substitute local guild titles (e.g., Alágbẹ̀dẹ for Gbénàgbénà).
Di source wey dem cite
- John Mason; Sandra T. Barnes, Orin Orisa: Songs for Selected Heads; Africa's Ogun: Old World and New, 1992 / 1989 https://dokumen.pub/africas-ogun-second-expanded-edition-old-world-and-new-expanded-0253210836-9780253210838.html
Di pages wey di search bring back (1)
- 1. es.scribd.com
Ògún Lákáayé (Ògún Aládá Méjì / Ọ̀ṣìn Ìmọ̀lẹ̀)
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Original
Ògún Lákáayé, Ọ̀ṣìn Ìmọ̀lẹ̀, Ògún aládá méjì, Ó fi ọ̀kan sánko, ó fi ọ̀kan yẹ̀nà. Níjọ́ Ògún ń torí òkè bọ̀, Aṣọ iná ló mú bọ́ra, ẹ̀wù ẹ̀jẹ̀ ló wọ̀. Màrìwò l'aṣọ Ògún. Ògún onílé owó, olọ́nà ọlà.
Word-for-word gloss
- Ògún World-Encompassing, Chief-among-divinities / Ògún owner-of-machetes two / He uses one clear-farm, he uses one clear-road / Day Ògún was from-head-of hill coming / Cloth of-fire is-what took cover-body, shirt of-blood is-what wore / Young-palm-fronds is-cloth of-Ògún / Ògún owner-of-house-of money, owner-of-road-of wealth.
Idiomatic English
Ògún Lákáayé, Chief among the primordial divinities, Ògún, possessor of two cutlasses, He uses one to clear the brush on the farm, and uses the other to open the pathway. The day Ògún was coming down from the mountaintop, He draped himself in garments of fire, he wore a coat of blood. Fresh palm fronds are the attire of Ògún. Ògún, master of the house of riches, owner of the path to prosperity.
Na who translate am Pierre Fatumbi Verger / Sandra T. Barnes
Praising Ògún's primordial role as the first deity (Ọ̀ṣìn Ìmọ̀lẹ̀) to clear the impenetrable road for other òrìṣà descending to Earth, his iconic dual instruments for agriculture and pioneer pathfinding, his fiery martial nature, his sacred vestment of young palm fronds (màrìwò), and his capacity to bestow material prosperity.
When dem dey perform am
Recited at Ọ̀sẹ̀ Ògún (Ògún worship days), Ọlọ́jọ́ Festival in Ilé-Ifẹ̀, coronation and oath-taking ceremonies, and hunters' funerary ceremonies (Ìpàdẹ).
Who dey perform am
Ògún priests, hunters chanting Ìjálá oral poetry, and royal bards.
Di lineage or town
Ilé-Ifẹ̀, Ìre-Èkìtì, Òndó
Di different versions
In some recordings, rendered as 'Ògún onílé kàngun kàngun tí ń bẹ l'ọ́run / Olómi nílé f'ẹ̀jẹ̀ wẹ̀'.
Di source wey dem cite
- Pierre Fatumbi Verger; Sandra T. Barnes, Notes sur le culte des orisa et vodun à Bahia; Africa's Ogun: Old World and New, 1957 / 1989 https://dokumen.pub/africas-ogun-second-expanded-edition-old-world-and-new-expanded-0253210836-9780253210838.html
Di pages wey di search bring back (1)
- 1. es.scribd.com
Ṣàngó
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Original
Ṣángo Olúkòsó, Akata yẹri yẹri, Àrábámbí Ọkọ Ọ́yá, Aláàfin, ẹkùn bu, a sa, Olójú Orógbó, Ẹ́lẹ́rẹ́kẹ obi, Ẹ́lẹ́yínjú ogunna, Olúkòsó lalu, Iná l'ójú, iná l'ẹ́nu, E ègún tin'yọ́ná lẹ́nu, Òrìṣà ti nbologbó lẹ́rù, San'giri, la'giri, Ola'giri kankan fígbá ẹ́dun bo, A ri igba ọ̀ta, ṣetẹ́, O fi alapa ṣẹ́gun ọ̀ta, Ajiṣaye gbege ọkọ́ Ọ́ya, Oloju Orogbo, Ṣango olukosooo!
Word-for-word gloss
- Ṣàngó Lord of Kòso; Wide flowing robes; Child born of thunder husband of Ọya; Alaafin, leopard roars and people flee; Eyes like bitter kola; Cheeks like kola nut; Eyeballs like live glowing charcoal; Lord of Kòso famous across the city; Fire in the eyes, fire in the mouth; Masquerader who breathes fire from his mouth; Deity that frightens even a cat; Splitter of walls, cracker of walls; Splitter of walls who strikes forcefully with two hundred thunderstones; He who sees two hundred enemies and crushes revolt; He who used broken wall debris to conquer foes; One who wakes early to strut proudly husband of Ọya; Bitter-kola-eyed one, Ṣàngó Lord of Kòso!
Idiomatic English
Ṣàngó, the Lord of Kòso, draped in majestic flowing robes, child born of thunder and husband of Ọya. He is the Alaafin: when the leopard roars, all flee. He whose eyes are deep like bitter kola and cheeks smooth like kola nut, whose eyes glow like fiery charcoal embers. Famous Lord of Kòso throughout the town, fire flashes in his eyes and fire burns in his mouth. The spirit-masquerade that breathes fire, the deity that terrifies even the cunning cat. He who cracks walls and splits solid walls with two hundred thunderbolts. He who meets two hundred foes and crushes their conspiracy, who vanquishes enemies with mere fragments of broken mud walls. He who rises early to stride in splendor, husband of Ọya, the bitter-kola-eyed Ṣàngó, Lord of Kòso!
Na who translate am Oluwadamilola Adeojo and traditional liturgical corpus
The oríkì invokes the terrifying physical attributes, martial supremacy, cosmic weapons (thunderstones/ẹdun àrá), royal majesty as Alaafin, and fiery temperament of the Yoruba divinity of thunder and lightning.
When dem dey perform am
Chanted during the annual World Sango Festival in Oyo, at shrine rituals, initiation ceremonies for Elégùn Ṣàngó priests, and during spirit possession dances.
Who dey perform am
Ṣàngó praise chanters (Akéwì / Oníṣàngó), cult priestesses, and bàtá drummers
Di lineage or town
Ọ̀yọ́ / Kòso
Di different versions
Variants substitute lines such as 'O duro nilo, o kan lo, Arabambi ara Oyo Moko' or alter epithet lines about crushing enemies with two hundred thunderstones.
Di source wey dem cite
- Oluwadamilola Adeojo / Traditional Oyo Oral Chants, ORIKI SANGO (Eulogy OF Sango) / World Sango Festival Archive, 2020 https://cgafrica.com
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Ṣàngó
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Original
Je ko ye mi Sango baalee Kosoo. Aremu baale Agborandun. O o gborann mi dun dakun mo ya mi. Aremu njo o buru igba nii gbope. Aranmonlogunabamolo Kakombari Aroorajaoogun. O too bora njo kan an ponju. Eye o ku ojumo O si ku ojumo Sango okolaya mi Orun. Ase.
Word-for-word gloss
- Let it be pleasing to me Sango owner of the house of Koso. Aremu chief who hears and defends. Listen to my matter and please do not reject me. Aremu on the day of trouble the climbing rope holds fast to the palm tree. One who sends soldiers to war and goes along with them. Kakombari who has sufficient resources to buy charm ingredients. He is adequate to cover oneself on the day eyes turn red with trouble. The bird survives till dawn and dawn arrives, Sango courageous husband in heaven. So be it.
Idiomatic English
May I be pleased, Spirit of Lightning, Lord of Koso. Aremu, chief protector who listens to and defends the afflicted. Please defend my cause and do not abandon me. Aremu, in difficult times, as the climbing rope encircles and secures the palm tree. He sends his servants to war and marches right along with them. Kakombari who possesses enough wealth to purchase ingredients for medicine and power. He is sufficient to shield one on the day when troubles turn fiercely red. The bird survives until the morning, and the new day dawns; Sango, my courageous defender in heaven. May it be so.
Na who translate am Will Coleman / Traditional Ifá-Òrìṣà Liturgical Translation
A supplicatory praise poem seeking the protection, steadfastness, and martial intervention of Ṣàngó during acute adversity, praising him as a loyal leader who never leaves his people behind in battle.
When dem dey perform am
Recited during daily morning devotions, invocations at the Ṣàngó altar/shrine, and crisis prayers by devotees.
Who dey perform am
Òrìṣà devotees and Ifá/Ṣàngó priests
Di lineage or town
Kòso / Ọ̀yọ́
Di different versions
Variations include minor spelling changes such as 'Aremu baale Agorandum' or 'Aranmonlogunabaomolo'.
Di source wey dem cite
- Will Coleman (ed.), Oriki Sango - Praising the Spirit of Lightning, 2021 https://oercommons.org
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Ṣàngó
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Original
Bí ẹtù bá wọ ilé jẹjẹnẹ ni ń mú ewúrẹ́, bí Ṣàngó bá wọ ilé jẹjẹnẹ ni ń mú òòṣà gbogbo, a ri ru ala oninanso gangan niile ni igbo soro ibosi, a ji kún osun bi oge, eniru oko lamu tata, ogbe ile suru gbe omo si oko ibeji.
Word-for-word gloss
- If the guinea fowl enters the house trembling takes the goat; if Sango enters the house trembling takes all deities; who appears in white with high embroidery at home and in the grove where distress calls sound; who wakes and rubs camwood like a fashionable youth; strong husband of Lamu tata; who sustains the household patiently and brings children to the husband of the mother of twins.
Idiomatic English
When the guinea fowl enters the house, dread seizes the goat; when Sango enters the house, dread seizes all the orishas. He who appears in pristine white, adorned in striking embroidered vestments both in the compound and in the sacred grove where cries of alarm ring out. He who awakens and adorns himself with camwood like an elegant dandy. Resolute husband of Lamu tata, who patiently protects the home and grants children to the husband of the mother of twins.
Na who translate am Pierre Verger
Highlights Sango's supreme dreadfulness among all divinities, alongside his contrasting elegance, fondness for handsome adornment (camwood), and benevolent capacity to bless families with children and twins.
When dem dey perform am
Chanted during possession rituals and initiation of an Elégùn Ṣàngó (mount/priest of Sango) into the cult.
Who dey perform am
Elégùn Ṣàngó initiation officiants and senior cult priests
Di lineage or town
Ọ̀yọ́
Di different versions
Recorded with dialectal orthography in Verger's Bahia and West Africa comparative field surveys.
Di source wey dem cite
- Pierre Fatumbi Verger, Notes sur le culte des Orisa et Vodun à Bahia la Baie de tous les saints au Brésil et à l'ancienne Côte des esclaves en Afrique, 1957 https://books.google.com
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Ọ̀ṣun (Òrìṣà Ọ̀ṣun)
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Original
Ọ̀rẹ́ yèyé Ọ̀ṣun! Ọ̀ṣun Ṣèégèsí, Ọlọ́ọ̀yà iyùn, Arẹwà obìnrin, Ọ̀ṣun oyèyéé ní mọ̀, Awẹ̀dẹ wẹ̀mọ́. Yèyé mi olówó aró, Yèyé mi ẹlẹ́sẹ̀ oṣùn, Yèyé mi àjímọ́rọ́rọ́, Yèyé mi abímọ má yànkú, Yèyé mi alágbo àwòyé, Elétí gbáròyé, Ọ̀gbàgbà tí ń gba ọmọ rẹ̀ lọ́jọ́ ìjà.
Word-for-word gloss
- Ọ̀rẹ́ yèyé Ọ̀ṣun (Most benevolent mother Osun); Ọ̀ṣun Ṣèégèsí (Osun the elegantly adorned); Ọlọ́ọ̀yà iyùn (Owner of the coral-beaded comb); Arẹwà obìnrin (Beautiful woman); Ọ̀ṣun oyèyéé ní mọ̀ (Osun who is full of profound wisdom); Awẹ̀dẹ wẹ̀mọ́ (Herb that cleanses brass and purifies the child); Yèyé mi olówó aró (My mother with hands indigo-dyed); Yèyé mi ẹlẹ́sẹ̀ oṣùn (My mother with feet beautified with camwood); Yèyé mi àjímọ́rọ́rọ́ (My mother who awakens pristine and radiant); Yèyé mi abímọ má yànkú (My mother who gives birth and the children do not die); Yèyé mi alágbo àwòyé (My mother who owns healing herbal waters); Elétí gbáròyé (One with ears attentive to complaints); Ọ̀gbàgbà tí ń gba ọmọ rẹ̀ lọ́jọ́ ìjà (The ultimate protector who delivers her children in the day of conflict).
Idiomatic English
Most gracious Mother Osun! Osun Seegesi, Owner of the comb made of coral beads, The beautiful woman, Osun full of profound knowledge, Spirit that cleans brass and cleanses the child inside and out. My mother with hands colored by indigo dye, My mother with feet beautified with camwood, My mother who is always found spotless and radiant. My mother whose children do not die, My mother, the owner of potent healing infusions, Ever ready to listen to pleas, The great defender who saves her children on the day of struggle.
Na who translate am Diedre L. Badejo
Presents Ọ̀ṣun as the supreme mother of beauty, wealth, and spiritual wisdom, who presides over motherhood, healing water remedies (àgbo), infant survival, and steadfast protection of her devotees.
When dem dey perform am
Chanted during the annual Ọ̀ṣun Òṣogbo festival, morning invocations (ìwúre), river offering rituals, initiation ceremonies for priests and priestesses, and prayers for fertility and safe childbirth.
Who dey perform am
Ọ̀ṣun priestesses (Ìyálórìṣà), devotees, female ritual chanters, and worshippers at shrine groves.
Di lineage or town
Òṣogbo, Osun State, Nigeria
Di different versions
Ore yeye osun / Osun sengese / Oloriya iyun / Arewa obinrin / Osun oyeeyee nimo / Awede wemo
Di source wey dem cite
- Diedre L. Badejo, Ọ̀ṣun Ṣèègèsí: The Elegant Deity of Wealth, Power, and Femininity, 1996 https://books.google.com
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Ọ̀ṣun (Ọ̀ṣun Ṣèégèsí / Ọba Lódò)
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Original
Ọ̀ṣun, ooyèyé ní mọ̀, Ó wa yànrìn wa yànrìn kówó sí, Obìnrin gbọ́nà, ọkùnrin ń sá, Ọ̀ṣun abura-olú, Ògbàdàgbàdà lọ́yàn, Ọ̀yẹ́ ní mọ̀, ẹni idẹ kì í sú, Gba-da-mu gba-da-mu obìnrin kò ṣeé gbámú, Ọ̀rẹ́ yèyé o, Oníkíi, a-mọ̀-awo-má-rò, Yèyé Oníkíi, Ọba lódò, Òtútù nítẹ̀ẹ́, Ìyá tí kò léégun, tí kò lẹ́jẹ̀.
Word-for-word gloss
- Ọ̀ṣun, ooyèyé ní mọ̀ (Osun, full of wisdom/understanding); Ó wa yànrìn wa yànrìn kówó sí (She digs sand and digs sand and buries money inside); Obìnrin gbọ́nà, ọkùnrin ń sá (A woman who seizes the road and causes men to flee); Ọ̀ṣun abura-olú (Osun, the inexhaustible river that the monarch cannot drain); Ògbàdàgbàdà lọ́yàn (One who possesses large, robust breasts to nourish life); Ọ̀yẹ́ ní mọ̀, ẹni idẹ kì í sú (Wise one, one who never tires of adorning herself with brass); Gba-da-mu gba-da-mu obìnrin kò ṣeé gbámú (The colossal, formidable woman who cannot be restrained or overpowered); Ọ̀rẹ́ yèyé o (Most gracious mother); Oníkíi, a-mọ̀-awo-má-rò (Onikii, who knows the innermost secrets of the mysteries but does not disclose them); Yèyé Oníkíi, Ọba lódò (Gracious Mother Onikii, Queen of the river); Òtútù nítẹ̀ẹ́ (Whose throne is cool and serene); Ìyá tí kò léégun, tí kò lẹ́jẹ̀ (The mother who has neither bone nor blood—pure spiritual water).
Idiomatic English
Osun, who is full of understanding, Who digs the sand and buries money in it. The woman who commands the road and makes men flee. Osun, the inexhaustible river of the king. One who has large, robust breasts. Possessor of wisdom, one who is never tired of wearing brass ornaments. The huge, powerful woman who cannot be caught or overpowered. Most gracious mother! Onikii, who knows the sacred secrets of the mysteries but never divulges them. Gracious mother Onikii, Queen of the river. One whose throne is cool and fresh. The mother who has neither bone nor blood.
Na who translate am Rowland Abiodun / Diedre L. Badejo
Presents Ọ̀ṣun's identity as a formidable, wealthy, and enigmatic deity. She buries money in the sands of the riverbed, fiercely commands authority surpassing men, guards sacred cult secrets, and governs the cool, life-sustaining aquatic realm.
When dem dey perform am
Recited during Ifá and Ẹẹ́rìndínlógún consultations, Odù Ọ̀ṣẹ́ Tùrá invocations, riverfront offerings, and enthronement and annual propitiations of Ọ̀ṣun.
Who dey perform am
Babaláwo (Ifá priests), Ìyálórìṣà (Ọ̀ṣun priestesses), and lineage praise-chanters.
Di lineage or town
Òṣogbo / Èkìtì / Ọ̀yọ́
Di different versions
Osun, oyeye nimo / O wa yanrin wayanrin kowo si / Obinrin gbona okunrin nsa / Osun abura-olu / Gbadamu gbadamu obinrin ko see gbamu
Di source wey dem cite
- Rowland Abiodun (eds. Joseph M. Murphy and Mei-Mei Sanford), Hidden Power: Osun, the Seventeenth Odu (in 'Osun across the Waters: A Yoruba Goddess in Africa and the Americas'), 2001 https://iupress.org
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Ọya
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Original
Ọya Òpèré Ọya lóyàn Ọya onílé Irá Aláfẹ́fẹ́ ìránṣẹ́ òjò Ọya olówèe Ṣàngó Ṣe pẹ̀lẹ́ pẹ̀lẹ́.
Word-for-word gloss
- Ọya Òpèré / It is Ọya who succeeds / Ọya owner of the home in Irá / Controller of the wind, messenger of rain / Ọya, Ṣàngó's favourite / Act gently, gently.
Idiomatic English
Ọya Òpèré (praise name) It is Ọya who succeeds Ọya, who makes her home in Irá Ọya, controller of the wind, messenger of rain Ọya, Ṣàngó's favourite (wife) Keep cool.
Na who translate am Táíwò Abímbọ́lá and Amanda Villepastour
Presents the cognomen Òpèré, celebrates Ọya's divine origin and dwelling in the town of Irá, identifies her elemental role as commander of the winds and herald of storm rains, acknowledges her close marital bond as the beloved wife of Ṣàngó, and appeals to her fiercely tempestuous energy to remain calm and gentle.
When dem dey perform am
Performed during devotional drumming festivals (ìlù òrìṣà), bàtá musical salutations, and annual religious rites honoring Ọya and Ṣàngó.
Who dey perform am
Master bàtá drummers (such as Chief Alhaji Rábíù Àyándòkun) and òrìṣà priests/cantors.
Di lineage or town
Irá
Di source wey dem cite
- Amanda Villepastour, Táíwò Abímbọ́lá, and Chief Alhaji Rábíù Àyándòkun, Ancient Text Messages of the Yorùbá Bàtá Drum: Cracking the Code (Appendix II: Musical Transcriptions and Text Translations, Example AII.11), 2010 https://dokumen.pub/ancient-text-messages-of-the-yoruba-bata-drum-cracking-the-code-9781409406563.html
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Ọya
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Original
Àjàláiyé, Àjàlọ́run, fún mi níre. Ìbà Yánsàn. Àjàláiyé, Àjàlọ́run, fún mi ní àlàáfíà. Ìbà Ọya. Àjàláiyé, Àjàlọ́run wínniwínni. Mbe mbe má Yánsàn. Àṣẹ.
Word-for-word gloss
- Winds of earth, winds of heaven, give me blessings. Homage to the Mother of Nine. / Winds of earth, winds of heaven, give me good health/peace. Homage to Ọya. / Winds of earth, winds of heaven are wondrous. May the Mother of Nine exist forever. May it be so.
Idiomatic English
The winds of Earth and Heaven bring me good fortune. Praise to the mother of nine. The winds of Earth and Heaven bring me good health. Praise to the Spirit of the Wind. The Winds of Earth and Heaven are wondrous. May there always be a Mother of Nine. Ase.
Na who translate am Awo Fa'lokun Fatunmbi
Invokes Ọya in her role as the cosmic wind spanning both the physical realm (Àyé) and the spiritual realm (Ọ̀run), honoring her title Yánsàn (Ìyáńsàn, mother of nine) while petitioning her for health, good fortune, and enduring protection.
When dem dey perform am
Recited during morning prayers, liturgical propitiation, festival openings, and offerings to the spirit of Ọya.
Who dey perform am
Òrìṣà initiates, babaláwos, and devotees of Ọya.
Di lineage or town
Pan-Yorùbá / Ọ̀yọ́
Di different versions
Ajalaiye, Ajal orun, fun mi ire. Iba Yansan. Ajalaiye, Aja lorun, fun mi alafia. Iba Oya. Ajalaiye, Ajal orun winiwini. Mbe mbe ma Yansan.
Di source wey dem cite
- Awo Fa'lokun Fatunmbi, Oriki: Praising the Spirit of Nature / Oriki Egun Yoruba Prayer Book https://www.oercommons.org
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Yemọja
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Original
Àgbè ní ńgbé 're kí Yemọja, Ibi-kejì odò. Àlùkò ní ńgbé 're kí 'lọ́sà, ibi-kejì odò. Ògbó òdídẹrẹ́ ní ńgbé 're k'ọ́níwò. Ọmọ a t'ọ̀run gbé 'gbá ajé ka 'rí w'áyé. Olúgbé-rere kò, Olúgbé-rere kò, Olúgbé-rere kò. Gbé rere kò mí, olúgbérere. Àṣẹ!
Word-for-word gloss
- Àgbè (blue touraco) carries good fortune to greet Yemọja, second in command of the river / Àlùkò (crimson touraco) carries good fortune to Olọ́sà (lagoon spirit), second in command of the waters / Ògbó òdídẹrẹ́ (aged parrot) carries good fortune to the King of Iwo / Child who from heaven carries a calabash of wealth upon the head to enter the world / Olúgbé-rere (Great Bringer of Good Fortune), meet/bless us / Bestow good things upon me, great bringer of blessings / Àṣẹ (May it be so).
Idiomatic English
It is the blue touraco bird that takes good fortune to Yemọja, the goddess of the waters. It is the crimson touraco bird that takes good fortune to Olosa, the spirit of the lagoon. It is the aged parrot that takes good fortune to the King of Iwo. It is the child who brings the calabash of wealth from heaven upon their head into the world. Bringer of good things, meet us with fortune; Bringer of good things, meet us with fortune; Bringer of good things, meet us with fortune. Bestow good fortune upon me, supreme giver of blessings. Asé!
Na who translate am John Mason
The poem calls upon sacred messenger birds (the blue touraco, crimson touraco, and African grey parrot) which symbolize spiritual elevation, purity of speech, and the transmission of prayers to the divine realm. It invokes Yemọja as the heavenly patroness of human rebirth, who confers the calabash of prosperity and children upon earthly worshippers.
When dem dey perform am
Chanted during daily household devotions (*ọ̀sẹ̀*), initiation ceremonies (*ìwúye* / *kàrí òrìṣà*), invocation at the river or ocean banks, and annual festivals.
Who dey perform am
Yemọja priestesses (*Ìyálórìṣà* / *Oníyemọja*), Ifá/Òrìṣà priests (*Babaláwo* / *Babalórìṣà*), and initiated devotees.
Di lineage or town
Abeokuta (River Ògùn headquarters), Ibadan, Oyo, Saki, and transatlantic Yoruba communities (Candomblé, Santería/Lucumí).
Di different versions
Recorded with dialectal and spelling variations across oral traditions, such as substituting 'k'oniwo' (to the King of Iwo) with 'k'ọ́lọ́wọ̀' (to the venerable one), and 'k'losa' for 'k'ẹ́lọ́sà'.
Di source wey dem cite
- John Mason, Orin Orisa: Songs for Selected Heads, 1992 https://www.scribd.com/document/290470646/127409765-Mason-Olokun-Words-1-1
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Yemọja
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Original
Yemọja a gbalúgbú omi. Ayaba tí ńgbé inú omi jíjin. Ó sọ igbó di ọ̀nà. Ó mu ọtí líle nínú igbá. Ó dúró gbanyin níwájú ọba. Yemọja nira nígbà tí àfẹ́fẹ́ ńlá bá ta. Ó yí ká, ó rọ́ yípo ìlú. Ó jẹ nínú ilé, ó jẹ nínú odò. Ìyá mi olóyàn arùn.
Word-for-word gloss
- Yemọja who spreads broad across the waters / Queen who lives in deep water / She turns the thick forest into a clear road / She drinks strong liquor from a gourd / She stands steadfast before the king / Yemọja surges when the gale winds blow / She turns and spirals around the town / She eats in the house, she eats in the river / My mother, mistress of flowing, voluminous breasts.
Idiomatic English
Yemoja who expands in broadness. Ayaba who lives in deep water. Makes the bush become a road. Drinks schnapps in calabash. Remains whole in the face of the king. Yemoja swirls when the whirlwind surges. Swirls and spirals around the town. Eats in the house, eats in the river. Mother lady of the weeping breast.
Na who translate am Adriano Moraes Migliavacca (English translation from Pierre Verger's field collection and Antonio Risério's Portuguese rendering)
The oríkì portrays the complex character of Yemọja: maternal yet fiercely formidable. She creates pathways where none exist, fearlessly faces secular rulers, and partakes of ritual offerings in domestic shrines as well as in flowing wild waters.
When dem dey perform am
Chanted during possession trances, annual Yemọja water processions, and ritual libation ceremonies.
Who dey perform am
Initiated priestesses (*Ìyálóde*, *Oníyemọja*) and ritual chanters.
Di lineage or town
Oyo / Ketu / Abeokuta traditions and Afro-Brazilian Ketu-Nagô terreiros.
Di different versions
Recorded with additional lines addressing her marital relationship with Okere of Saki and invocations of child-healing.
Di source wey dem cite
- Pierre Verger, Notes sur le culte des orisa et vodun a Bahia, la Baie de tous les Saints, au Brésil, et à l'ancienne Côte des Esclaves en Afrique, 1957 https://www.scielo.br/j/bak/a/cTJLpCMrgdVMKp74Ys6tq5B/?format=pdf&lang=en==
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Èṣù Òdàrà
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Original
Èṣù Òdàrà, ọ̀tá òrìṣà, Ọmọkùnrin Ìdólófin, Ó lé sọ́ńsó sí orí ẹsẹ̀ ẹlẹ́sẹ̀, Kò jẹ, kò jẹ́ kẹ́ni tí ó jẹ ó jẹ. A sọ́tùn-ún sọ́sì láì nítìjú, Èṣù àpáta sọmọ olọ́mọ lẹ́nu, Àtùká máṣe é sá, Èṣù máṣe mí, máṣe ọmọ ẹlòmíì! Àṣẹ.
Word-for-word gloss
- Èṣù the divine transformer, adversary of the deities / Son of Idalofin / He sits sharply on the foot of someone else / He will not eat, nor allow whoever eats to eat / He sides with both right and left without shame / Èṣù the rock that strikes another person's child on the mouth / The scatterer who cannot be escaped / Èṣù do not tempt/afflict me, do not tempt/afflict another's child! / So be it.
Idiomatic English
Èṣù, adversary of the other deities, The son of Ìdólófin, The troublesome and aggressive one, He will not eat, yet he stops others from eating. He turns to the right and to the left without shame. Èṣù, the stone that strikes another's child on the mouth. He who causes a scattering that cannot be outrun. Èṣù do not afflict me, do not afflict another's child! May it be so.
Na who translate am Pierre Verger / Ulli Beier research tradition
The epithets explain Èṣù's core cosmological dualities: 'Ọ̀tá òrìṣà' marks his adversarial yet testing role toward other deities; 'Ọmọkùnrin Ìdólófin' grounds his sacred lineage in Ìdólófin; 'A sọ́tùn-ún sọ́sì láì nítìjú' indicates his non-partisan mediation standing outside human morality; and 'Èṣù àpáta sọmọ olọ́mọ lẹ́nu' reflects his swift and severe disciplinary retribution when offerings (ẹbọ) are omitted.
When dem dey perform am
Performed during the opening phase of any ritual, prior to Ifá divination consultations, at shrines or crossroads (oríta) before presenting ẹbọ, and at annual festival invocations.
Who dey perform am
Babaláwo, Ìyánífá, and initiates/devotees of Òrìṣà.
Di lineage or town
Ìdólófin / Ilé-Ifẹ̀
Di different versions
Variants include: 'Òṣétùrá ni orúkọ bàbá mọ́ ọ́, Alágogo Ìjà ni orúkọ ìyá ńpè é' (Òṣétùrá is the name your father calls you; Master of the Bell of Conflict is the name your mother calls you).
Di source wey dem cite
- Pierre Verger / Ulli Beier, Iconography and Oral Poetry of Yoruba Divinities / Oriki Esu Corpus, 1980 https://www.scribd.com/document/752814881/oriki-exu-pdf
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Èṣù Láàlú (Èṣù Òdàrà)
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Original
Èṣù, Èṣù Òdàrà, Èṣù Láàlú ògiriòkò. Ọkùnrin orí ìta, A jó lángá lángá lálú. A rìn lánjá lánjá lálú. Ó dé ibi ìjà dé mọ́lẹ̀. Ìjà ni ọ̀tárù bá d'élée 'fẹ̀, Tó fi dé ọmọ wọn. Ọ̀rọ̀ Èṣù tó tó tó akọni. A ó fi idà rẹ lálẹ̀. Èṣù má ṣe mí o. Èṣù má ṣe mí o. Èṣù má ṣe mí o. Ọmọ ẹlòmíràn ni kò lọ ṣe. Pa adó aṣubí dà. Nọ adó aṣure sí wa. Àṣẹ.
Word-for-word gloss
- Èṣù, Èṣù the transformer, Èṣù of the town, strong as a stone wall / Man of the crossroads / Who dances vigorously through the town / Who struts sprightly through the town / He arrives at the scene of conflict and subdues it / Strife was what confusion brought to the house of Ifẹ / Affecting even their children / The word of Èṣù is worthy and brave / We will touch your sword to the earth / Èṣù do not tempt/harm me / Èṣù do not tempt/harm me / Èṣù do not tempt/harm me / Go and affect another's child / Turn the gourd of misfortune away / Point the gourd of blessing toward us / May it be so.
Idiomatic English
Èṣù, Èṣù of Transformation, Èṣù of the City, strong as a stone wall. Man of the crossroads, Dance briskly through the town. Strut swiftly through the town. He arrives where there is strife and locks it down. Strife and discord entered the house of Ifẹ, And reached even to their children. The word of Èṣù is ever respected and valiant. We shall touch your sword to the earth. Èṣù, do not harm/confuse me. Èṣù, do not harm/confuse me. Èṣù, do not harm/confuse me. Let someone else be tested/afflicted. Turn the gourd of misfortune away. Turn the gourd of blessings towards us. May it be so.
Na who translate am Awo Fa'lokun Fatunmbi / Wande Abimbola liturgical tradition
Key epithets: 'Láàlú' (Honored in the City); 'Ògiriòkò' (Impenetrable Stone Wall); 'Ọkùnrin orí ìta' (Master of the Crossroads/Junctions of choice); 'Pa adó aṣubí dà / Nọ adó aṣure sí wa' refers to Èṣù's two mystical medicine gourds containing misfortune (aṣubí) and blessings (aṣure), praying he redirects fortune toward the supplicant.
When dem dey perform am
Recited during daily morning prayers (àdúrà), prior to Ifá divination rites, before opening communal rituals, and when setting offerings at crossroads.
Who dey perform am
Devotees, Babaláwos, and Oníṣẹ̀ṣe priests/priestesses.
Di lineage or town
Ilé-Ifẹ̀ / Yorùbáland
Di different versions
Common opening line variants include: 'Èsù, Èsù Òdàra, Èsù lanlu origioko' and 'Èṣù Láàlú Ọ̀gá Òkò'.
Di source wey dem cite
- Wande Abimbola / Rowland Abiodun liturgical corpus, Oríkì Èṣù: Praising the Divine Messenger / Yoruba Art and Language Liturgical Exegesis, 1997 https://www.scribd.com/document/559885827/Oriki-Esu-Ingles
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Ọ̀rúnmìlà
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Original
Òrúnmìlà! Ẹlẹ́rìí ìpín, Ìbìkejì Olódùmarè; A-jẹ́-jù-oògùn, Ọ̀bíríkítí, A-pa-ọjọ́-ikú-dà, Olúwa mi, A-tó-í-bá-jayé, Ọ̀rọ̀ a-bi-kú-j'igbó, Olúwa mi, Àjíìkí, Ọ̀gẹ́gẹ́ a-gb'ayé-gún; Odùdù tí ń gba orí ẹmẹ̀rè, A-tún-orí-tí-kò-sunwọ̀n-ṣe, A-mọ̀-ì-kú, Ọlọ́wà Áyérẹ́, Àgírí-ilé-ìlọ́gbọ́n, Olúwa mi: àmọ̀ìtán, A kò mọ̀ Ọ́ tán kò ṣe, A bá mọ̀ Ọ́ tán ìbá ṣe kẹ́.
Word-for-word gloss
- Òrúnmìlà! Witness of destiny, Second to Olódùmarè (the Supreme God); One who is more efficacious than medicinal charms, The Immense Orbit / Great Circle that alters the appointed day of death, My Lord, One sufficient to accompany through life / support existence, Mysterious spiritual power who struggles with death in the dense forest, My Lord, First to be saluted/invoked at morning awakening, Primeval equilibrium and exactitude that sets the world in order and rectitude; Saviour/protector who delivers the destiny of precarious born-to-die spirits (ẹmẹ̀rè), One who rectifies and rebuilds an unfortunate destiny/head, One who understands and transcends death / possesses immortality, Lord and ruler of Áyérẹ́, Consummate master residing in the House of Wisdom (Ilé-Ìlọ́gbọ́n), My Lord: the Incomprehensible / Infinite in knowledge, Not knowing You fully leads to futility, If only we could know You completely, all would be profoundly well.
Idiomatic English
Òrúnmìlà! Witness of fate, / Second to Olódùmarè {God}; / Thou art far more efficacious than medicine, / Thou the immense Orbit that averts the day of Death. / My Lord, Almighty to save, / Mysterious spirit that fought death. / To thee salutation is first due in the morning, / Thou Equilibrium that adjusts World Forces, / Thou art the One whose exertion it is to reconstruct the creature of bad luck, / Repairer of ill luck, / He who knows thee becomes Immortal, / Lord the undeposable King, / Perfect in the house of Wisdom, / Lord Infinite in Knowledge, / For not knowing thee in full, we are futile, / Oh, if we could but know thee in full all would be well with us.
Na who translate am E. Bolaji Idowu (with parallel analytical translations and aesthetic exegesis by Rowland Abiodun)
This canonical oríkì encapsulates the ontological and cosmological attributes of Ọ̀rúnmìlà: (1) 'Ẹlẹ́rìí ìpín' (Witness of Destiny) marks him as present when human souls chose their portions before Olódùmarè; (2) 'Ìbìkejì Olódùmarè' places him second only to the Supreme Deity as cosmic counsellor; (3) 'A-jẹ́-jù-oògùn' establishes the supremacy of divinatory wisdom and divine alignment over mere magical preparations; (4) 'Ọ̀bíríkítí, A-pa-ọjọ́-ikú-dà' and 'Ọ̀rọ̀ a-bi-kú-j'igbó' signify his power to negotiate with and avert untimely death (Ikú); (5) 'Ọ̀gẹ́gẹ́ a-gb'ayé-gún' honors his function as cosmic balancer regulating social and natural order; (6) 'A-tún-orí-tí-kò-sunwọ̀n-ṣe' highlights his unique capacity to repair damaged or unpromising destinies; (7) 'Àgírí-ilé-ìlọ́gbọ́n' denotes him as the absolute fountain and embodiment of divine knowledge.
When dem dey perform am
Chanted at daily dawn devotions (Àjíìkí), during the opening invocations of Ifá divination sessions (Dídá Ifá), during annual Ifá festivals (Ọdún Ifá), and at priestly initiations and rites of passage.
Who dey perform am
Babaláwo (Ifá priests), Ìyánífá (Ifá priestesses), and initiated devotees of Ifá.
Di lineage or town
Ilé-Ifẹ̀ (the spiritual cradle of Yorùbá cosmology), Òkè Ìgbẹtì, Ilé-Ìlọ́gbọ́n, and Ọ̀wọ̀.
Di different versions
Expanded forms incorporate praise lines such as 'Bara Àgbonnìrègún', 'Ọkùnrin kúkúrú Òkè Ìgbẹtì', and lineage epithets connecting him to the sacred palm tree (Igi Ọ̀pẹ) as documented in Rowland Abiodun (2014) and Abosede Emmanuel (2000).
Di source wey dem cite
- E. Bolaji Idowu; Rowland Abiodun, Olodumare: God in Yoruba Belief; and Yoruba Art and Language: Seeking the African in African Art, 1962 / 2014 https://www.cambridge.org/core/books/yoruba-art-and-language/4-orunmila/2A3F74921E90E9BA5E373FBCB8B84D35
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Ọ̀sanyìn
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Original
Ìbà Ọ̀sanyìn, ìbà oní ewé. Àngbẹ́rì, ewé gbogbo kìkì oògùn. Agbenigi, òròmodìẹ abìdí sonso, Èsìnsìn abẹ́dọ̀ kínníkínní, Koogo egbòrò irin, Àképè nígbà ọ̀ràn kò sunwọ̀n, Àrónì jà kòtò dígun mọ́yà, Ó gbàṣọ ọkùnrin ta giegie, Abánijà má jẹ̀bi ẹnì, Ó ṣíṣọ àrùn lára ọkùnrin, Eégún ńlá a a yído fún, Ewé lọ́wọ́, ewé lẹ́nu, Kò sóhun tó ò leè ṣe, Gbogbo ara kìkì oògùn, À le pa le jí, ọkọọ mi, à le jí le pa, Ó fóògùn bá ikú jà, Ẹkùn tí í ṣoògùn lọ́yà, Ó bumú, ó bumwẹ̀, Kò lóúnjẹ méjì bí kò ṣe ataare, Ó sọ igba ewé dọ̀kan, Ọkùnrin ńlá tí í f’igbó lé fóògùn, Ọkùnrin a f’ewé ṣoun gbogbo tó wù ú.
Word-for-word gloss
- Praise Osanyin; praise owner of leaves; supernatural one, all leaves pure medicine; root-dweller, chick with sharp pointed rear; fly with crystal-clear liver; stout rod of iron; called upon when matters are bad; Aroni who fastens charms to the chest; who takes a sick man's clothes and staggers; who fights without guilt; who strips disease off man; mighty masquerade for whom the mortar is rolled; leaf in hand, leaf in mouth; nothing you cannot do; body filled with medicine; who can kill and revive, husband, who can revive and kill; who uses medicine to fight death; leopard who prepares medicine; drinks some, bathes with some; has no food except alligator pepper; turns 200 leaves into one; mighty man who commands forest for medicine; man who uses leaves for whatever he desires.
Idiomatic English
Praise to Osanyin, praise to the owner of leaves. The supernatural one, one who turns all leaves into medicine. One who is versed in the use of roots, one who has a sharp, pointed tail like that of a chick. One who has a liver as crystal clear as a fly's, One who is as powerful as an iron rod, One whom people appeal to when things are bad. Aroni, the custodian of secrets who fastens medicine on his chest. One who forcibly takes the clothes from a sick man and staggers, He who fights without being guilty, He who removes the garment of disease from a man. A big masquerade for whom the mortar is rolled. Leaves in the hand, leaves in the mouth, There is nothing you cannot do, One whose entire body is pure medicine. He who can kill and revive, my husband, he who can revive and kill, He who uses medicine to combat death. A leopard that prepares medicine to repel assaults, He drinks some of it, and uses some to wash his head. He has no food other than alligator pepper (ataare), He turns two hundred leaves into one unified medicine. The mighty man who preserves the forest for medicinal power, The man who accomplishes all he desires through leaves.
Di source no name any translator.
The oríkì salutes Ọ̀sanyìn as the supreme master and divinity of botanical pharmacopoeia, forest secrets, and curative science. Key epithets include 'Agbenigi' (the one versed in living trees and roots), 'Òromọdìẹ abìdí sonso' (the one with a pointed tail like a chick, alluding to his avian and compact physical manifestation), 'Èsìnsìn abẹ́dọ̀ kínníkínní' (the one with a liver clear like a fly, signifying acute spiritual perception and purity of diagnosis), and 'Ó gbàṣọ ọkùnrin ta giegie' (stripping away the sick man's clothes while staggering, a metaphor for taking away the garment of illness and absorbing the affliction).
When dem dey perform am
Chanted during the collection of medicinal herbs, before compounding herbal formulations (oògùn), during consecration ceremonies of the Ọ̀pá Ọ̀sanyìn (wrought-iron herbal staff), and during therapeutic or propitiatory rituals at Ọ̀sanyìn shrines.
Who dey perform am
Olósanyìn (priests/custodians of Ọ̀sanyìn), Onísègùn (traditional Yorùbá doctors/pharmacognosists), and Babaláwo (Ifá divination priests working with herbal medicine).
Di lineage or town
Yorùbáland (broadly observed across Òṣogbo, Ìṣẹ́yìn, Ìbàdàn, Ilé-Ifẹ̀, and related traditional medical lineages).
Di different versions
Recorded in variant lengths; shorter liturgies focus on the core opening verses ('Agbenigi, oromodie abidi sonso... Akepe nigba oran ko sunwon').
Di source wey dem cite
- Awo Fategbe Fatunmbi / Pierre Verger (referenced corpus), Oriki Osanyin: Praise of Herbal Spirit / Ewé: The Use of Plants in Yoruba Society Documentation https://medium.com/@fatunmbi/iba-osanyin-praise-to-the-owner-of-herbal-medicine-1bfcfcb5b853
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