Oríkì · Ìpilẹ̀ṣẹ̀

Oríkì

Oríkì tí a kójọ nípasẹ̀ ìwádìí ẹ̀rọ, tí a kò tí ì ṣàyẹ̀wò. Gbogbo ohun tí ó wà lórí ojú-ìwé yìí kò tí ì ní ìjẹ́rìí: a fi hàn kí a lè ṣàyẹ̀wò rẹ̀, kì í ṣe nítorí pé a ti ṣàyẹ̀wò rẹ̀.

Ohun 44, gbogbo rẹ̀ kò tí ì ní ìjẹ́rìí

Nínú corpus

Oríkì: The SectionOriki

Àkójọ tí kò tí ì ní ìjẹ́rìí

Ojú-ìwé yìí nìkan ni ibi tí a ti fi ohun tí a kò tí ì ṣàyẹ̀wò hàn nínú àkójọpọ̀ yìí. Ìdí nìyẹn tí a fi yà á sọ́tọ̀, kò sì sí ohun tí ó yẹ kí a fa yọ láti inú rẹ̀ bí ẹni pé a ti fi ìdí rẹ̀ múlẹ̀.

A kójọ rẹ̀ pẹ̀lú ẹ̀rọ, a kò sì tí ì ṣàyẹ̀wò rẹ̀. Àwọn àmì ohùn, ìdárúkọ àti ọ̀rọ̀ rẹ̀ ṣì nílò àyẹ̀wò sí orísun tí a dárúkọ kí a tó lè gbáralé rẹ̀.

Gbogbo irú egbe 1 eranko 1 ilu 11 inagije 3 orile 24 orisa 44 personal 11

Ògún
orisaÀkójọ tí kò tí ì ní ìjẹ́rìí
Ìpilẹ̀
Ògún Lákáayé, Òsìn Imọlẹ̀, Onílé kángun-kàngun tí ń bẹ l'ọ́run, Olómi nílé f'ẹ̀jẹ̀ wẹ̀, Oláṣọ nílé fi mọ̀ bọ́ra.
Ìtumọ̀ ọ̀rọ̀-sí-ọ̀rọ̀
- Ogun world-wide known, leader of deities, owner of rough roofs in heaven, owner of water at home who bathes with blood, owner of clothes at home who covers himself with palm fronds.
Ìtumọ̀ Gẹ̀ẹ́sì
Ogun, possessed of worldwide renown, chief of deities, possessor of countless houses in the heavens, one who has water at home yet bathes with blood, one who has garments at home yet wraps himself in palm fronds.
Ẹni tí ó túmọ̀ rẹ̀ Adeboye Babalola
Extols the transcendent power, fierce nature, primordial authority, and ascetic warrior emblems (blood, iron, and palm fronds) of Ogun.
Ìgbà tí a ń pa á
During annual Ogun festivals, hunters' assemblies (Ìjálá performances), ancestral installations, and blacksmith/hunter funerals.
Ẹni tí ó ń pa á
Ìjálá chanters, guild hunters, and Ogun devotees.
Ìdílé tàbí ìlú
Ire / Oyo / All Yoruba hunting communities
Àwọn ìyàtọ̀
Ogun lakaaye osin male; Ogun lakaaye osun mole
Orísun tí a tọ́ka sí

Èṣù (Yoruba deity of crossroads, mediation, and cosmic order)

orisaÀkójọ tí kò tí ì ní ìjẹ́rìí

Ìpilẹ̀

Èṣù ṣe rere kò burú, ṣe burúkú kò rere. B'inú bá b'Èṣù a f'òkúta lu'lẹ̀ d'ẹ́jẹ̀. B'inú bá b'Èṣù a jókòó sórí awọ èèrà. B'inú bá b'Èṣù a sunkún ẹ̀jẹ̀. Èṣù sùn nínú ilé, ilé kéré fún un. Èṣù sùn lórí ìbàdẹ́, ìbàdẹ́ kéré fún un. Èṣù sùn nínú èso kékeré kan, nígbẹ̀yìn-gbẹ́yín ó tẹ́ ẹsẹ̀ rẹ̀ nà.

Ìtumọ̀ ọ̀rọ̀-sí-ọ̀rọ̀

Eshu makes good not bad, makes bad not good. If anger seizes Eshu he strikes stone ground to blood. If anger seizes Eshu he sits on skin of ant. If anger seizes Eshu he weeps tears of blood. Eshu slept inside house, house small for him. Eshu slept on veranda, veranda small for him. Eshu slept inside tiny nut, at last he stretched his feet.

Ìtumọ̀ Gẹ̀ẹ́sì

Eshu turns right into wrong, wrong into right. When he is angry, he hits a stone until it bleeds. When he is angry, he sits on the skin of an ant. When he is angry, he weeps tears of blood. Eshu slept in the house, but the house was too small for him. Eshu slept on the verandah, but the verandah was too small for him. Eshu slept in a nut, at last he could stretch himself.

Ẹni tí ó túmọ̀ rẹ̀ Rowland Abiodun

The oríkì encapsulates the paradoxical, dialectical, and transformative essence of Èṣù as the divine mediator of cosmic forces, whose nature transcends physical containment and conventional moral binaries.

Ìgbà tí a ń pa á: During annual òrìṣà rituals, Ifá divination consultations, and before addressing other deities at communal shrines and crossroads.
Ẹni tí ó ń pa á: Babalawo (Ifá priests), Oníṣẹ̀ṣe (Òrìṣà devotees), and ritual praise-chanters.
Ìdílé tàbí ìlú: Pan-Yoruba (prominently Ọ̀yọ́, Ilé-Ifẹ̀, and Kétu)
Àwọn ìyàtọ̀: Eshu Elegbara, Eshu Odara, Eshu Lalu, Eshu Alawada

Ọ̀ṣun (Yèyé Òṣun / River Deity of Osun)

orisaÀkójọ tí kò tí ì ní ìjẹ́rìí

Ìpilẹ̀

Ore yèyé Òṣun Òṣun sẹ̀ngẹ̀sẹ̀, Olóríyà ìyùn, Arẹwà obìnrin Òṣun oyèyè nímọ̀, Awẹ́dẹ wẹ̀mọ́ Yèyé mi olọ́wọ́ aró, Yèyé mi ẹlẹ́sẹ̀ osùn Yèyé mi ajímọ̀rọ̀rọ̀, Yèyé mi abímọ má yànkú Yèyé mi alágbo àwòyè Elétí gbáròyé, Ọ̀gbàgbà tí ń gba ọmọ rẹ̀ lọ́jọ́ ìjà Arí bání gbò nípa t'ọmọ Òṣun oníkíi, Afìdẹ rẹmọ Apẹ́níbú s'ọlá, Apẹ́lódò s'ọ̀rọ̀ ọmọ Òṣun ẹni idẹ kì í sú, Amọ̀ àwò má rò Ó wá yànrìn wá yànrìn k'ówó sí Gbadamu-gbadamu obìnrin kò ṣeé gbámú Obìnrin tó gbóná j'ọkùnrin lọ Omi a mọ̀ rìn, omi a mọ̀ o sùn Ore yèyé gbà mí, ẹni a ní ní ń gbani.

Ìtumọ̀ ọ̀rọ̀-sí-ọ̀rọ̀

Gracious mother Osun; Osun the elegant, owner of coral comb, beautiful woman; Osun abundant in knowledge, who cleanses brass and washes children; My mother with indigo-dyed hands, my mother with camwood feet; My mother who wakes in radiant freshness, my mother who bears children that do not die; My mother possessor of healing medicinal infusions; Attentive listener to complaints, mighty rescuer of her child in the day of fight; One who takes care of people in child affairs; Osun onikii, who soothes children with brass; Who stays in the depths to create wealth, who stays in the river to settle child affairs; Osun whom brass ornaments never tire, who knows cult secrets but reveals them not; She sifts sand and buries wealth therein; Formidable massive woman who cannot be conquered; Woman fiercer than men; Water that knows how to flow, water that knows how to sleep; Gracious mother deliver me, it is the one we have that saves us.

Ìtumọ̀ Gẹ̀ẹ́sì

Mother Osun! Praise to the mother of mystery, the one who possesses a comb crafted of coral beads, the beautiful woman; Osun the fountain of deep wisdom, who cleanses brass and purifies children inside and out; My mother with hands colored by indigo dye, my mother with feet beautified with camwood, my mother who wakes early in pristine radiance; My mother whose children never die, owner of the life-giving herbal decoction; Ever-ready listener to pleas, great savior who rescues her children in battle, she who cares for one concerning children; Osun who soothes children with bronze and brass, who dwells in the waters generating wealth, who resides in the river to care for infants; Osun who never tires of wearing brass bracelets, who knows the secrets of the cults without disclosing them; She who grazes the sands and buries riches therein; Powerful, formidable woman who cannot be overcome, strong woman more fierce than men; Flowing water that never ceases, resting water that knows how to calm; Gracious Mother, protect me! It is our own protector who delivers us.

Ẹni tí ó túmọ̀ rẹ̀ Yoruba Library Editorial Board / Adepoju & Cultural Literature Studies

Invokes the multi-dimensional power of the goddess Ọ̀ṣun as the protector of motherhood, giver of fertile waters, keeper of herbal healing remedies (àgbo), custodian of hidden wisdom and wealth (represented by brass and coral), and a fierce protectress of her devotees.

Ìgbà tí a ń pa á: Performed during the annual Osun-Osogbo sacred grove processions, during weekly shrine worship (ọ̀sẹ̀), naming ceremonies of children born through Ọ̀ṣun's intervention, and spiritual cleansing rituals.
Ẹni tí ó ń pa á: Priestesses of Osun (Ìyá Òṣun), Awòrò Òṣun, the votive maiden (Àrúgbá), and initiates of the Ọ̀ṣun cult.
Ìdílé tàbí ìlú: Osogbo, Osun State (and riverine Ọ̀ṣun shrines across Yorubaland)
Àwọn ìyàtọ̀: Ore yeye Osun / Osun sengese Oloriya iyun... / Osun oyeye nimo / Yeye mi olowo aro

Ọbàtálá (Òrìṣà-Ńlá)

orisaÀkójọ tí kò tí ì ní ìjẹ́rìí

Ìpilẹ̀

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

Ìtumọ̀ ọ̀rọ̀-sí-ọ̀rọ̀

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

Ìtumọ̀ Gẹ̀ẹ́sì

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.

Ẹni tí ó túmọ̀ rẹ̀ 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.

Ìgbà tí a ń pa á: Chanted during annual Ọbàtálá festivals, temple morning devotions, invocations for childbearing and blessings, and priestly initiations.
Ẹni tí ó ń pa á: Ọbàtálá priests (Àwòrò Òrìṣà-Ńlá), priestesses (Ìyárìṣà), and devotees seeking fertility or spiritual elevation.
Ìdílé tàbí ìlú: Ìranjẹ / Ilé-Ifẹ̀ / Ifọ́n / Igbó
Àwọn ìyàtọ̀: Variants include additional praise phrases such as 'Òrìṣà Adìmúlà' and 'Olójú kára bí ajere'.

Ọbàtálá (Alábàláṣẹ / Ọba Ìgbò)

orisaÀkójọ tí kò tí ì ní ìjẹ́rìí

Ìpilẹ̀

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!

Ìtumọ̀ ọ̀rọ̀-sí-ọ̀rọ̀

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!

Ìtumọ̀ Gẹ̀ẹ́sì

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.

Ẹni tí ó túmọ̀ rẹ̀ 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.

Ìgbà tí a ń pa á: Recited as an invocatory opening praise prayer (ìwúre/oríkì) during morning shrine libations, offerings of cool water and snails, and annual rites.
Ẹni tí ó ń pa á: Priests of Ọbàtálá, Babalawo invoking Òrìṣà-Ńlá in ritual ceremonies, and devotees.
Ìdílé tàbí ìlú: Ifọ́n / Ìranjẹ / Igbó
Àwọn ìyàtọ̀: Variants replace 'o fi l'ẹ́mìí aṣòtítọ́ l'ọ́wọ́' with 'o fi l'ẹ́mi aṣòtó l'ọ́wọ́'.

Ọbàtálá (Òòṣà Gbigbinnikin / Ọba Òkè)

orisaÀkójọ tí kò tí ì ní ìjẹ́rìí

Ìpilẹ̀

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.

Ìtumọ̀ ọ̀rọ̀-sí-ọ̀rọ̀

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.

Ìtumọ̀ Gẹ̀ẹ́sì

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.

Ẹni tí ó túmọ̀ rẹ̀ 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.

Ìgbà tí a ń pa á: Chanted during festive worship, judicial reconciliations at Ọbàtálá groves, prayers for children, and the annual festivals of Òṣàgiyán in Ejigbo.
Ẹni tí ó ń pa á: Òrìṣà/Ọbàtálá priests, ritual bards, and devotees.
Ìdílé tàbí ìlú: Èjìgbò / Ifọ́n / Ilé-Ifẹ̀
Àwọn ìyàtọ̀: Recorded with variations invoking both Òṣàgiyán and Ajàgùnnà, or adapted as praises for Ọ̀ṣanlá.

Ògún (Ògún Méje / The Seven Manifestations of Ogun)

orisaÀkójọ tí kò tí ì ní ìjẹ́rìí

Ìpilẹ̀

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.

Ìtumọ̀ ọ̀rọ̀-sí-ọ̀rọ̀

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.

Ìtumọ̀ Gẹ̀ẹ́sì

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.

Ẹni tí ó túmọ̀ rẹ̀ 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).

Ìgbà tí a ń pa á: Chanted during annual Ògún festivals, sacrificial offerings at shrines, smithies, hunting consecrations, and the opening of sacred rites.
Ẹni tí ó ń pa á: Hunters (ọdẹ), blacksmiths (alágbẹ̀dẹ), priests of Ògún (olórìṣà / aworo), and oral poets chanting ìjálá.
Ìdílé tàbí ìlú: Pan-Yorùbá (specifically naming Ìlará, Ìre, Ìkọ̀lé, Ìlá Ọ̀ràngún)
Àwọn ìyàtọ̀: Variants replace specific sacrificial animal names or substitute local guild titles (e.g., Alágbẹ̀dẹ for Gbénàgbénà).

Ògún Lákáayé (Ògún Aládá Méjì / Ọ̀ṣìn Ìmọ̀lẹ̀)

orisaÀkójọ tí kò tí ì ní ìjẹ́rìí

Ìpilẹ̀

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.

Ìtumọ̀ ọ̀rọ̀-sí-ọ̀rọ̀

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.

Ìtumọ̀ Gẹ̀ẹ́sì

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.

Ẹni tí ó túmọ̀ rẹ̀ 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.

Ìgbà tí a ń pa á: Recited at Ọ̀sẹ̀ Ògún (Ògún worship days), Ọlọ́jọ́ Festival in Ilé-Ifẹ̀, coronation and oath-taking ceremonies, and hunters' funerary ceremonies (Ìpàdẹ).
Ẹni tí ó ń pa á: Ògún priests, hunters chanting Ìjálá oral poetry, and royal bards.
Ìdílé tàbí ìlú: Ilé-Ifẹ̀, Ìre-Èkìtì, Òndó
Àwọn ìyàtọ̀: In some recordings, rendered as 'Ògún onílé kàngun kàngun tí ń bẹ l'ọ́run / Olómi nílé f'ẹ̀jẹ̀ wẹ̀'.

Ṣàngó

orisaÀkójọ tí kò tí ì ní ìjẹ́rìí

Ìpilẹ̀

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!

Ìtumọ̀ ọ̀rọ̀-sí-ọ̀rọ̀

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!

Ìtumọ̀ Gẹ̀ẹ́sì

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!

Ẹni tí ó túmọ̀ rẹ̀ 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.

Ìgbà tí a ń pa á: Chanted during the annual World Sango Festival in Oyo, at shrine rituals, initiation ceremonies for Elégùn Ṣàngó priests, and during spirit possession dances.
Ẹni tí ó ń pa á: Ṣàngó praise chanters (Akéwì / Oníṣàngó), cult priestesses, and bàtá drummers
Ìdílé tàbí ìlú: Ọ̀yọ́ / Kòso
Àwọn ìyàtọ̀: 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.

Ṣàngó

orisaÀkójọ tí kò tí ì ní ìjẹ́rìí

Ìpilẹ̀

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.

Ìtumọ̀ ọ̀rọ̀-sí-ọ̀rọ̀

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.

Ìtumọ̀ Gẹ̀ẹ́sì

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.

Ẹni tí ó túmọ̀ rẹ̀ 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.

Ìgbà tí a ń pa á: Recited during daily morning devotions, invocations at the Ṣàngó altar/shrine, and crisis prayers by devotees.
Ẹni tí ó ń pa á: Òrìṣà devotees and Ifá/Ṣàngó priests
Ìdílé tàbí ìlú: Kòso / Ọ̀yọ́
Àwọn ìyàtọ̀: Variations include minor spelling changes such as 'Aremu baale Agorandum' or 'Aranmonlogunabaomolo'.

Ṣàngó

orisaÀkójọ tí kò tí ì ní ìjẹ́rìí

Ìpilẹ̀

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.

Ìtumọ̀ ọ̀rọ̀-sí-ọ̀rọ̀

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.

Ìtumọ̀ Gẹ̀ẹ́sì

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.

Ẹni tí ó túmọ̀ rẹ̀ 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.

Ìgbà tí a ń pa á: Chanted during possession rituals and initiation of an Elégùn Ṣàngó (mount/priest of Sango) into the cult.
Ẹni tí ó ń pa á: Elégùn Ṣàngó initiation officiants and senior cult priests
Ìdílé tàbí ìlú: Ọ̀yọ́
Àwọn ìyàtọ̀: Recorded with dialectal orthography in Verger's Bahia and West Africa comparative field surveys.

Ọ̀ṣun (Òrìṣà Ọ̀ṣun)

orisaÀkójọ tí kò tí ì ní ìjẹ́rìí

Ìpilẹ̀

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.

Ìtumọ̀ ọ̀rọ̀-sí-ọ̀rọ̀

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).

Ìtumọ̀ Gẹ̀ẹ́sì

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.

Ẹni tí ó túmọ̀ rẹ̀ 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.

Ìgbà tí a ń pa á: 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.
Ẹni tí ó ń pa á: Ọ̀ṣun priestesses (Ìyálórìṣà), devotees, female ritual chanters, and worshippers at shrine groves.
Ìdílé tàbí ìlú: Òṣogbo, Osun State, Nigeria
Àwọn ìyàtọ̀: Ore yeye osun / Osun sengese / Oloriya iyun / Arewa obinrin / Osun oyeeyee nimo / Awede wemo

Oríkì

Ògún

Ọ̀ṣun and Ako Effigy Performers

Àyàn Àgàlú (Orisha of Drumming)

Ògún (Ògún Onírè)

Olódùmarè (God in Contemporary Gospel Oríkì)

Ògún

Ògún (Seven Manifestations)

Ògún (The Dangerous and Innovative Patron)

Èṣù (Yoruba deity of crossroads, mediation, and cosmic order)

Òrìṣà (Ògún / Ṣàngó / Deities)

Ọ̀ṣun (Yèyé Òṣun / River Deity of Osun)

Ọbàtálá (Òrìṣà-Ńlá)

Ọbàtálá (Alábàláṣẹ / Ọba Ìgbò)

Ọbàtálá (Òòṣà Gbigbinnikin / Ọba Òkè)

Ògún (Ògún Méje / The Seven Manifestations of Ogun)

Ògún Lákáayé (Ògún Aládá Méjì / Ọ̀ṣìn Ìmọ̀lẹ̀)

Ṣàngó

Ṣàngó

Ṣàngó

Ọ̀ṣun (Òrìṣà Ọ̀ṣun)