Iyaami Osoronga (My Mother the Sorceress) By awo Fategbe Fatunmbi
This essay is mostly a compilation of information of already published info. on our Mothers. Obviously, as a man, my knowledge is limited. (edited 3/19/10) Nwon ba nkorin bayi pe Iya kere e mo ohun mi o Iyami Osonronga, gbogbo ohun ti mba nwi Ogbo lo ni e mda gbo dandan Iyami Osoronga, e mo ohun mi o Iyami Osoronga, igba l o ni ki e mda gba Iyami Osoronga, e mo ohun mi o Iyami Osoronga, oro ti okete ba le so Ni le gbo dandan Iyami Osoronga, e mo ohun mi o Iyami Osonronga, gbogbo ohun ti mba ti nwi, ni ko mda se Iyami Osoronga e mo ohun mi o ase Petite mother you will know my voice Iyami Osoronga (My mother the sorceress) every word that I speak The ogbo leaf has said that you will understand it absolutely Iyami Osoronga you will know my voice
Iyami Osoronga the calabash says that you will take it Iyami Osoronga you will know my voice Iyami Osoronga, the word that the okete rat speaks to the earth The Earth will hear it absolutely Iyami Osoronga you will know my voice Iyami Osoronga everything that I say, you will do Iyami Osoronga you will know my voice. Ase O! Iyaami (or Iyami) have been characterized as a negative force in the universe frequently associated with "witchcraft" and the use of female power to harm others. However, this particular belief is ill informed and is in contradiction to both Ifa scripture and Ifa ritual practice. For one, offerings to Iyami are a component of nearly all offerings made as a result of consultation with Ifa divination. In addition, the use of the symbolic representation of birds (Eleye) on the crown of the king (Oba) suggests that the blessing of Iyami is an essential element in the sanctification of the monarchy. As a divine ruler, Oba William Adetona Ayeni in the northeastern Yoruba kingdom of Ila-Orangun, while referring to the cluster of birds (birds represent the power of the mothers) on his great crown, is reported to have said, “Without ‘the mothers,’ I could not rule” (J. Pemberton in Drewal et al., 1989) According to Chief Ifawole of Ile Ife: "The Iyaami are the women that guide Olodumare. They go by the name Aje or Iyaami. The three Iyaami that primarily guide Olodumare are called; Ayere Eiye Ayere Eiye Oyeye Eiye Ti Se Oniko Eleiye. These three Iyaami not only guide Olodumare, but they empower the Aje on the earth. They are the ones that originally sent the Aje to the World. The three Iyaami have supreme power over Aje on earth and they are the ones who initiated and spread Aje throughout the World. The Aje on earth fall into two categories, Oso, which are male Aje and the Eleiye which are female Aje. Esu has ability to enter among both Oso and Eleiye. No one can choose to initiate Aje/Iyaami, they choose who they want to initiate and “call” that person.
No one can say they have initiated to Iyaami or say they can initiate you. No one can have or give a shrine to the Iyaami or Aje. If someone claims to have an Iyaami shrine, can give a shrine, to have been initiated to Iyaami or wants to initiate you, they are speaking falsely. It is impossible to truthfully make these claims. There is no specific shrine to Aje. To feed the Aje one must either feed them through Esu, Orita meta (3 road junction) or the Iroko tree. No one knows the actual Aje shrine, however according to Elders and what Ifa says, we know that the name of their house is called Ota and the name of their shrine is called Idi. No one knows the actual place of the Idi and if they do they can NEVER say…" According to Ifa, the difference between men and women is that women are born with ofo ase or the power of the word. This power is called aje and is rooted in the concept of ge or female ase. Ase is a component of the life force breathed into each human being by Olodumare; it is spiritual power; it is the power to create. Ase is given by Olodumare to everything – Gods, ancestors, spirits, humans, animals, plants, rocks, rivers and voiced words such as songs, prayers, praises, curses, or even everyday conversation. Existence, according to Yoruba thought, is dependent upon it; it is the power to make things happen and change. The power of the word is an important part of harnessing ase (Pemberton). The day Epe was created Was the day Ase became law Likewise, Ohun was born The day Epe was invoked Ase is proclaimed Epe is called But they both still need Ohun (to communicate). Without Ohun (voice), neither Epe (curse, the malevolent use of ase), nor Ase can act to fulfill its mission. The reason women have ofo ase is because the voice of the mother is the voice that guides the development of children. Women are born with ofo ase, while it must be developed in men through initiation. This is why men are presented to odu and women are not. Odu means womb; women are born with a womb. Men experience what it means to have a womb by being presented to odu. The idea that women cannot “see” odu (igbadu) because they are somehow inferior to men is a gross distortion developed in a patriarchal west.
In Yoruba theology, like most other theologies, exists the concept of extensionism; a connection from the human to God. In Ifa, this extension is called Ela. It is through Ela that one connects to God (Olodumare) and receives ase. Ela “speaks” through Owe (ofo ase) - proverbs, Odu, oriki, chants, etc. Women’s ways of knowing is tied to metaphor of voice (owe). In women, the development of sense of voice, mind and self are intricately intertwined, and are the foundation for the egbe known as Iyaami Osoranga from the elision iya a mi oso ran ga meaning, “my mothers bring me the power of astral travel” What this means is that the power of the word is the power to enter the astral plane and from that plane use the power of the word to change life on earth. In traditional Ifa, Iyaami Osoronga is the foundation of everything (Fatunmbi). Yoruba cosmology is heavy in dualities and polarities that are constantly seeking balance in unity. Just as there exists the polarity of male-female energy, within female energy itself exists a polarity that is create and destroy. Many focus on the destructive power of the mothers, giving the impression that they are destructive. However, they are also needed for all creative pursuits. A central figure that embodies the dual nature of the mothers, and arguably the most powerful Orisa, is Osun (leader of the Iyami cult). Knowing that she was the source of all good things as stated in the Ifa literary corpus, Osun never needs to vie for position among her fellow Orısa. Her demeanor invokes the Yoruba saying, Asu´ re´tete ko` r’o´ye` je, arı`ngbe.`re. ni ı´ mo´ye`e´ de´le´ One who walks slowly, (that is, acts intelligently and gracefully), will bring the chieftaincy title home, while the one who runs (that is, acts recklessly) misses the chance of enjoying a title. Compared with the other Orısa, Osun represents a higher and more inclusive religio-aesthetic concept immediately relevant to the solution of human problems, regardless of their origin, nature, or severity. Her presence and that of “our mothers” must be acknowledged at all major events, festivals, and celebrations of new seasons and the new year. Virtually all greetings on these occasions end with the prayer “Odun a yabo” which is a wish for a “feminine, productive, harmonious, and successful year, season, or celebration.” This verbal invocation not only acknowledges the spiritual attributes and ase of womanhood which is epitomized in Osun, but is also a practical acceptance of the superior power of “our mothers” in helping the community to cope with all the challenges of a new season, year, or millennium (Abiodun 2001). In Yoruba tradition, women are thought to be as indispensable to men as Osun was to the sixteen male orısa or odu at the time of creation. However, men have an ambivalent attitude toward women. It is felt that women of any age are potential aje´ who possess eiye the “bird power.” The symbolism of the bird is ubiquitous in Yoruba ritual and art. The crown of the Oba is adorned with birds, the staff of Osanyin as well as babalawo, and the calabash which holds the bird and other magickal ingredients (Odu pot, or igbadu) has birds carved on the surface.
The mothers, also known as Eleiye, “owners of bird,” are said to send out there birds or turn into birds themselves at night. This is a reference to the ability of the Iyami to astral travel. It is during astral travel that they come silently to “eat your intestines.” The fear of this extraordinary power has caused men to appease women as they do “our mothers” (awon ıya wa). Consequently, in many social, religious, and political gatherings, men endeavor to placate “our mothers” and to pray to them to use their powers for the good of society. Even though much of the traditional political power in Yorubaland today seems to be located in the domain of men, Yoruba oral traditions and visual art show that this hasn’t always been the case. The power of women is most represented in Osun, who as the leader of the Iyami cult exhibits the multifarious dimensions of feminine power and whose presence continues to reverberate in Yoruba culture and society (Abiodun 2001). Before contact, the women’s society, the Iyaami, had the authority to bestow kingship. It was the Iyaami who put the crown on the new king. All the king’s power and authority were in the crown. It contained the ase of Kingship. The men’s society and the women’s society, made up of respected elders, made decisions which were passed to the king. In a Yoruba village, Iyalode is a title bestowed on a woman who is head of the women of the community. She is the one who issues the birds, the power of aje. She is head of the market place, and a priestess of Oya. She represents women in court, and settles disputes. She controls the menstruation of all the women, and so controls all women through her mystical powers (Verger 1965). After the arrival of Muslims and Europeans, the women’s societies were destroyed so that kingship would not be in the hands of the women, and the position could be corrupted. At that time the King’s son could not be king. Kingship went to a nephew. So although women have always been known to have and use ase for good and for bad (for the Yoruba, the ase of Iyami is not in and of itself good or evil; what’s important is how it is used), they wouldn’t become portrayed purely as “witches” who are evil and must be persecuted until after the Muslims and Europeans came. In Odu you will find extensive praise and love of the mothers. There are many sources that show that the idea of “witchcraft” developed after the arrival of Christian missionaries and colonial officers, who, by persecuting the indigenous religion, created new forms of pagan religion replete with witch hunting groups, and anti-witchcraft churches, etc. (Debrunner 1959). The mothers, when they came into the world, came to roost in an Iroko tree (as eleiye). The iroko tree is sacred to Iyaami. According to Fatunmbi: "...Iroko from the elision i ro ko meaing “I learn possession.” The iroko trees are huge ancient trees similar to the baobob tree in South Africa. The trees are scattered throughout the rain forest and grow in isolation, meaning a single tree and not in clusters. In traditional Yoruba culture, villages were built around the iroko tree. The iroko tree is the Ifa tree of life because within the shadow of the iroko tree there are over a 1000 species of living things living in perfect harmony. The effect of all these living things creating a balanced environment, is that the iroko tree is an inter-dimensional portal. The tree is used both for the ancestors and for Iyaami. In Ode Remo on the full moon all the women of Iyaami meet in the iroko tree in their astral bodies. It is taboo for men to walk past the tree on a full moon. If you were to do so accidently, you would not see anything unless you had second sight, but the grandmothers would warn you the next day not to violate the taboo. In the sixties as part of the
alleged transfer of power from Britain to Nigeria, British intelligence paid the Yoruba Christian community to walk through Yoruba land burning down the iroko trees and destroying the village Iyaami shrines. The British did this because they knew that the mothers had control over the oba (king) and in order to install puppet kings in Yoruba land the British needed to destroy Iyaami. The iroko tree in Ode Remo shows evidence of this burning. The entire Christian crusade was filmed by Bascom, and the raw footage is available at the Berkeley anthropological museum. As far as I know, it has never been shown in public." In Odu (the Ifa oral literary corpus) we learn that women were given the power over the universe directly by Olodumare. Odu (Iyaami, Iya'nla, Iya Agba,Odua, Odudua, Odu Logboje) is a female deity who came into the visible realm with Obatala (Orisanla, Obarisa) and Ogun. The word Oduduwa is from the elision Odu dudu iwa that literally means dark womb of Creation I greet or I arrive. In better English Oduduwa means the arrival of form and structure. Here there is confusion as there is the first Yoruba king whose name is Oduduwa. These are two different entities. Odu the female is sometimes referred to as Odudua. We also find Odudua as the wife of Obatala in the Diaspora. In the creation episode in Osa Meji, Odu comes to earth with Obatala, and in another itan Odu goes to live with Obatala. Herer we are speaking of the female entity and not the first king. Obatala as the force of expansion and Odu the force of contraction in the universe. This is the most basic, overarching polarity in Yoruba thought. Olorun sent them to establish the earth. Obatala had the power of creation and Ogun the power of war and technology. Odu had nothing, so she went back to Olorun before they had left the invisible realm and asks Olorun what will be her power. Olorun (Olodumare) tells her, “You will be Iya Won, their mother for all eternity; you will support the world. You are the mother of all men. They must alert you, Odu, of all things they intend to do.” Man alone may do nothing in the absence of women (light and sound [expansion] alone are not enough; you need gravity [contraction] to create form). He gives her the power of Eiye -the bird. He gives her the calabash of Eleiye -the bird keeper. Olodumare asks her how she will use the power; she says she will kill anyone who doesn’t listen to her. She will reward money and children to those who ask, but if people then become impertinent with her, she’ll take those things back. He warns her not to misuse this power. She says as long as people don’t mess up, she will give them blessings, but if they mess up, she’ll kill them. She gets a bit too arrogant and misuses her power. So the power is transferred to men, or actually the command over the power, but the power itself remains with women. She ends up married to Obatala and he must promise her that none of his wives can look at her. Thus women are not allowed to look at the Odu pot. The Odu pot is the most powerful object in the Yoruba religion. Women can receive Ifa and become diviners or belong to Ifa cult with the same status as men, but they can’t look in the Odu pot, giving men the power over it. But it is still female power, which is qualitatively “better” than male power. In practical terms, this puts control of the Orunmila cult in the hands of men. The story of Odu (the deity not the corpus) is found in Irete Ogbe: You trample upon the brush. I trample upon the brush. We trample the brush down together. Ifa was consulted for Odu (Odudua) by these Awos.
They said, Odu is going from heaven to earth. When she arrived on earth They said, you, Odu, this is your beginning. Olodumare gave her a bird. She took this bird with her to earth. Aragamago is the named that Olodumare gave this bird. Aragamago is the name that Odu's bird carried. He said, "You Odu, any undertaking upon which you send this bird, it will do. He said, "Any place that it pleases you to send this bird, it will go. He said, "If it is to do bad or good." He said, Anything that it pleases you to tell it to do, it will do. Odu brought this bird to earth. Odu has said that no other person will be able to look upon it. She said that it must not be looked upon. If any enemy of Odu looks upon it, She will shatter his eyes, With the power of this bird, she will blind the eyes. If another of her enemies peers into the calabash of this bird, This bird Aragamago, will shatter their eyes. She used this bird thusly. She used it even to get to the house of Orunmila. Orunmila went to consult his Awos. The Oracle said, "If we teach intelligence to someone, his intelligence will be intelligent.
If we teach stupidity to someone, his stupidity will be stupid." The Babalawos of the house of Orunmila consulted Ifa in order to know the day that he would take Odu as his wife. In this manner Orunmila would take Odu for his wife. The Awos of Orunmila said "Hee." They said, Odu that you wish to take for your wife. A power is in her hands. They said, because of this power Orunmila must make an offering to the earth. In the interest of all of his people. They said, so that with this power, she will not kill and eat him. Orunmila made the offering. When Orunmila had made the offering, they consulted Ifa for him. Orunmila carried the offering outside. At the arrival of Odu, she found the offering in the street. Hee! Who has made this offering to the earth? Ha! Esu said, "Orunmila has made this offering to the earth." Because he wishes to marry you, Odu. Odu said, not bad. All the things that Odu carried behind her, these are the bad things. She told them to eat. Odu opened the calabash of Aragamago, her bird, to the ground. She told it to eat. Odu entered the house. When she had entered the house, Odu called Orunmila.
She said, "Orunmila, she had arrived." She said her powers are numerous. but she did not wish that they should fight with him. She said, she did not want to fight with Orunmila. She said, even if someone asked her help, asked her help to fight him, she would not fight him. Because Odu did not wish that Orunmila suffers. Otherwise, if they wished to make Orunmila suffer, Odu with the power and with the power of the bird would fight the people. When Odu finished speaking Orunmila said, not bad. The time came, Odu said, Orunmila, You are going to learn my taboo. She said, she wished to tell him her taboo. She said, she did not want his other wives to see her face. She said, that he should tell all of his other wives that they should not look at her face. Whoever looked into her face, she would fight. She said, she did not want anyone to look at her appearance. Orunmila said, "Fine!" He then called all of his wives. He prevailed upon them. The wives of Orunmila would not look at Odu's face. Odu told Orunmila that. She said, with him she would make his burdens good. She said, she would heal all things. She said, anything that he causes to go wrong, she would repair it. She said, if he observed his taboo.
She said, all things that she completed would be good. Anyone who would disturb them, she would in turn disturb them. If Oso (sorcerer) wished to destroy, She said, she would leave him nothing. Then he himself would be destroyed. All his children, who are Awo He will implore them that they should never dare to trifle with Odu. Because Odu is the power of Awo. He said, if the Awo possesses Ifa, he will also have Odu. The power that Odu gives him says that. No woman must look upon her form. From this day no Babalawo is complete without possessing this Odu. One who does not have Odu will not be able to consult Ifa. The day that one comes into possession of Odu, On that day will he become a person that Odu will not allow to suffer. ASE The ban against looking at Odu’s face is an allusion to the prohibition against looking into the igbadu of the babalawo. The igbadu is the “Odu pot,” the calabash that every Ile or lineage must have and some babalawo have. In Odu Ose Oyeku we find the story of how Odu, Iya Agba (the respectable and elderly woman), gets the igbadu. Having aged, Odu’s mind was getting confused, so she placed her power in igbadu (igba odu), a calabash containing four smaller calabashes given to her by her four “council members” Obatala, Obaluaiye,, Ogun and Odua. Each smaller calabash contains the force of these Orisa. Efun (white chalk) for Obatala, osun (red camwood dust) for Obaluaiye, (Sopona), charcoal for Ogun, and mud (from the bottom of a river) for Odua. These four represent the four corners of the earth contained in the calabash. Igbadu is the house of Odu. One may not enter this house without rubbing one’s eyes with Omi ero composed of odundun, tete, and rinrin leaves, shea butter (ori) and the water from the shell of a snail. An initiation into the Orunmila cult, before entering the sacred forest, the initiate must first adore Odu, Orunmila’s wife in igbadu. Otherwise, Orunmila will not listen to him, and will not even know that this awo is his child (Maupoil 1943).
The struggle for dominance between male and female that is a central component of life on earth is repeated over and over in the Yoruba folklore, Odu and history. Central to this struggle is man’s acknowledgement of women’s superior spiritual power that cannot be taken from them, that is based in women’s ability to create life. In all these myths and stories, men try to control the power of the Iyami that was bestowed on them by Olodumare. Yet, whether or not men are able to rest control, they are always dependent on women, even Orunmila. The word odu means womb. Women are not given Odu because they are born with odu. They are not permitted to look into the odu pot, because there is a secret associated with Odu (igbadu) and Osun (here we are not speaking Oshun the spirit of the river, but Osun, her male aspect, which is represented in a staff called opa Osun, that is the power of protection for the babalawo) that allows men to protect other men from unfair abuse by the women of Iyaami Osoranga. If women learn the secret the balance of power between men and women would be lost. In another verse a woman comes to the rescue of her husband and this husband is Orunmila himself. The verse comes from the Odu Eji Ogbe: Orunmila got a visit from Iku (Death). Iku said that he came to challenge Orunmila to see if Orunmila really was a “true diviner.” Iku told Orunmila that he needed to come to Iku’s house the following morning in order to perform divination for him. That day Iku got three covered bowls ready. In one bowl he kept a head of a blind person; in another bowl he kept the legs of a lame person; and in another bowl he kept the head of a ram. Before Orunmila went to visit Iku at his home, Orunmila performed divination and Ifa told him that he had to send his wife to the market and there she would meet with the wife of Iku. She should be generous to the wife of Iku and should share food with her. These were the directions that IFA gave to Orunmila and Orunmila relayed the instructions to his wife. Indeed, when Orunmila’s wife got to the market, she met with Iku’s wife and when Iku’s wife asked for some food, Orunmila’s wife generously shared food with her. Iku’s wife felt very grateful and told Orunmila’s wife that her husband had challenged Orunmila, but she would let Orunmila’s wife know what the challenge entailed and what was in each of the bowls. Orunmila’s wife listened attentively and when she got back home, she let her husband know what was in each bowl. The following day, Orunmila went to the house of Iku, confident of his divination skills. As he was en route to Iku’s house, he noticed that his wife followed him. As a wise being he didn’t mind her following him and kept quiet. As he came to Iku’’ house, Iku welcomed him and asked him to come in. After pleasantries were exchanged, Iku proceeded to ask Orunmila to perform divination for him. Eji Ogbe came out, and Orunmila’s mind went blank! He looked up at the ceiling, but there was no IFA to be found there! He kept on scratching his head and saying “hmmmm, hmmmmm.” But suddenly his wisdom kicked in and he said, “This Ifa is too simple for me, it is so simple that my wife will explain this Ifa to you!” So Orunmila’s wife came forward and told Iku what the content in each bowl was. Upon completion of her task, Iku became very silent and was very impressed that if Orunmila could send his wife to explain the content of each bowl, how powerful Orunmila must be. He felt humbled in the presence of Orunmila. As Orunmila went back home he made sure he gave his wife all the credit. Many verses speak to how women had all the power, complete dominance, but lost it for using it arrogantly and unfairly. The excessive use of power by the Iyami (women) brought about submission to Orisanla, an Orisa that is calmer and more patient (in creation story). Interestingly,
Orisanla (Obatala), although portrayed as a fatherly orisa (father of many orisa along with yemaya as mother) is believed to be androgenous. There’s the popular itan (story) in Osa Meji of how Obatala tricked Odudua (Iyami) out of the Eegun clothes and men came to control the egun cult. This struggle for power between Odu and Obatala plays out yet again in another verse of Osa Meji (the aje are born in this Odu). It is another version of when the Eleiye came to earth and didn’t have power and then Olodumare gave them a power greater than men’s. The Eleiye are making Obatala angry because they eat his cotton that he planted. Then they get the power and have the only river on earth and Obatala steals water from them. Orunmila saves him. Another story on how Orunmila gained power over the Eleiye (owners of birds – the mothers) with Esu’s help, and on and on. The fact that there are so many stories about the polarity of male-female energy, suggests that in Yoruba thought, this polarity is in constant flux and plays a primary role in life on earth. The term Aje (Ah-jeh) (not aje [ah-jay] which means wealth, abundance, riches), is derogatory when used to designate a woman as a witch. You don’t do this in traditional Yoruba. Better to call them mothers, Iyami, awon iya wa or eleiye (owners of birds). When we mention these women, we touch the ground as a gesture of respect. The more widely known aspect of Iyami is as the elderly women who keep the calabash that has the bird. These women were given this calabash by Olodumare when the first woman, Iyami or Odudua left Orun. It is the calabash of existence itself. It is believed these women organize at night and transform into birds (astral travel) and go out and engage in maleficent acts. The other aspect is the ancient diety Odudua, or Odu Logboje. She is the one who received the power over the world in the calabash, the power itself symbolized by the bird. But, as I said earlier, she abuses the power and Olodumare takes it back and gives it Orisanla (Obatala). He will now exercise the power, although Iyami retains control. There are male sorcerers, by the way, called Oso (osho), but they aren’t as powerful as the women. They belong to the Orisa Oko cult. Aje is really just the name of the power itself, not the person, but after the arrival of Muslims and Christians, the term started to be used for persons. Women have aje, a form of ase (ashe). It is passed down to them from their mothers. If you got a womb, you got aje, but sometimes it needs to be awakened. So in Odu, you have stories of benevolent mothers, and of malevolent mothers. Bend your knee for women Women brought us into the world That’s what makes us humans Women are the Spirit of the Earth Bend your knee for women The following is an excerpt from Irete Meji:
Two hundred and one people arrive on earth at Ota; they choose from amongst themselves an Iyalode (female leader). Those wanting to acquire aje power visit Iyalode with a calabash, saying they each want a bird. Iyalode places a bird inside the calabash, covers it and gives it to each woman. They must care for them and hide them where only they know where it is. When they wish to send eiye out on a mission, they uncover the calabash. Eiye goes out with the message given to her to one of the four corners of the world. When the mission is completed the bird returns, saying to its keeper, “I have carried out the assigned task.” It goes back into the calabash and the calabash is put back in its hiding place. Oriki Iyaami This elegant bird flies upside down Descends softly on the roof of the house Moving as silently as a cat If instructed to kill, it will kill If instructed to bring back someone’s intestines It will bring them back When they fall upon someone to eviscerate them This person is unaware That it aims to remove their intestines ase The following is an excerpt of an article written by Henry John Drewal (1974) regarding Gelede, a visual yearly performance that honors the mothers, and in so doing placates them: Among the western Yoruba, elaborate masquerade performances known as Gelede pay tribute to the special powers of women (whether elderly, ancestral, or deified) collectively known as "the mothers." Traditionally, a night ceremony known as Efe precedes the afternoon performance of Gelede. What is voiced in Efe songs is visually intensified in Gelede masks and costumes. The import of Efe songs has already been analyzed (Drewal 1974). …The mothers are believed to possess a spiritual life force (ase) equal or superior to that of the deities (orisa) (Baba-lola 1971; Beier 1958:7; Verger 1965). Ase is itself a neutral force, neither positive nor negative. Its implementation determines its ultimate character. The mothers, who use their special power for both the detriment and benefit of individuals and communities, evoke a striking image of duality. The negative dimension of the mothers is expressed in the term aje, terrible or destructive mother, or witch. Fear and horror permeate the words of informants when they guardedly discuss
the aje: "the one who has water in the house yet washes her face with blood" and "the one whose vagina we can never approach." The term, as Beier explains, "represents . . . the mystic powers of womanhood in their more dangerous destructive aspect" (1958:6-7). The destructive mothers are most often thought to be involved in matters of infertility, impotency and the death of children, for they control the flow of menstrual blood and semen. They transform themselves into birds of the night in order to seek out and devour their victims (Adeleye1971; Prince 1961:797). They are constantly angry, easily irritated, and jealous of those who are too happy, beautiful or prosperous. They institute prohibitions and then refuse to explain them in order to create situations where men can be punished. These negative propensities combine to produce an image of vengefulness and unpredictability. In their positive aspect, the mothers are regarded as calm, creative, protective progenitors. Honorifics such as "my mother, the provider," "great mother," "old and respected mother, the one who saves," "old and wise one," and "the owner of the world" reflect these qualities. The mothers are also noted for their knowledge of herbal medicines and often attain widespread reputations for cures of special ailments (MacLean 1969:37). Besides their healing qualities, they act as a moderating force within the society to assure the more just apportionment of power, wealth, prestige and the maintenance of moral laws and conduct (Verger 1965:159). The mothers were not always believed to be moderate. According to one myth, they were given ultimate power over the other gods and men by the supreme deity, Olodumare, but subsequently lost sovereignty because they failed to act with calmness and rationality (Verger 1965:200-218). These qualities are thus central to the nature of the mothers and the key to man's relationship with them, for as one informant explains: "The Great Mother [Iyanla]gave instructions that anyone who worships her must have patience" (Ogun- dipe 1971). Yoruba society deals with the spiritual power of the mothers in two distinct and opposing ways. In the first, certain male-dominated cults (Egungun and Oro) confront, attack and destroy those identified as aje (Bascom 1944:67), a function more recently assumed by the Atinga movement (Morton-Williams 1956). Masks and other visual forms associated with these cults contain imagery evocative of male supremacy and vengeance. Gelede imagery, in contrast, exemplifies another approach to the mothers. The following text from the ancient verse of the Ifa oracle known as Osa Meji re-creates the mythic origin of the Gelede masquerade (Beyioku 1946): Pele ni ns'awo won lode Egba Pele ni ns'awo won lode Ijesa A da f'Orunmila, o ns'awo re Ilu Eleiye Won ni ko ru Aworan, Oja ati Iku 0 gbo, o ru, o de Ilu Eleiye, o ye bo 0 wa nsunyere wipe -
"Mo ba'ku mule nwo ku mo Iku, Iku gboingboin Mo b'arun mule, nwo ku mo Iku, Iku gboingboin" Greetings were their secret among the Egba Greetings were their secret among the Ijesa Ifa told Orunmila when he was going to the grove of the Eleiye (witches), He must put on a mask, a headwrap and leg rattles. He obeyed, he put them on, he arrived at the grove of the witches and he was safe. He rejoiced in dancing and singing"I have covenanted with Death, I will never die. Death, Death no more, I have covenanted with sickness, I will never die. Death, Death no more." Orunmila, the deity associated with Ifa, put on a mask (aworan), headwrap(oja), and leg rattles (iku)- the three essential elements found in all Gelede costuming. The regalia protect him from the negative propensities of the destructive mothers, for as one elderly priestess reputed to be extremely knowledgeable about such matters states: ". . . these masks are an ancestral rite that the ancients did in the past which they called eso [something done with carefulness]... They must not do it in an uncovered way. They must not dance nakedly to allow people [especially the destructive mothers] to see their eyes" (Akinwole 1971). The regalia also provide pageantry which appeals to their positive dimension (Verger 1965:146). Thus priests and elders voice the
requisite attitudes of patience, indulgence, and composure in words such as "we must pamper (tu) them and be living" and "the one to worship the Great Mother must have patience." Gelede visual imagery evokes these same attitudes in elaborate displays which coolly yet sharply evaluate the quality of Yoruba life as the mothers would do. With each successive masquerader, some aspect of Yoruba life and thought passes in review. In preserving the traditions by ridiculing unacceptable changes and praising acceptable actions, the imagery entertains, placates, and honors the "gods of society" (orisa egbe)-the mothers. The Gelede masquerade is an elaborate ritual in which the polarity of male-female energy which plays out politically and in many other ways is brought into a delicate balance for the benefit of the community. Wanderer, or wind, who does what he likes and means what he does, was the nickname of OsaMeji Before Osa-Meji came to the world he was advised to make sacrifice because he was going to practice his Ifa art in the midst of witches. He was told to give a he-goat to Esu, a guinea to his Ifa and a pigeon to his head. He did not perform the sacrifice as he was in a hurry to come to the world. Although he was one of the sixteen children of Orunmila who decided to come to the world at about the same time, he did not find the way to the world in time, because of the he-goat he failed to give to Esu. His guardian angel could not guide him because he also made no sacrifice to him. His Head did not come to his rescue either, because he offered no sacrifice to it. He was therefore wandering on the way until he came to the last river in heaven before crossing to the world. At the bank of the river he met the mother of witches, Iyami Osoronga who had been there for a long time because no one else agreed to help her to cross the river. She too was coming to the world but was too feeble to cross the tiny thread bridge over the river. Iyami Osoronga begged him to take her across the river, but he explained that the bridge would not take two passengers at a time. She then proposed to him that he should open his mouth so she could get into it. He agreed and she took a position inside his stomach. When he got to the earth end of the bridge, he told her to come out, but she refused on the grounds that his stomach provided a suitable abode for her. His problems with witchcraft had begun. When she refused to disembark, he thought he could bluff her by saying that she would die of hunger inside his stomach, but she said that she would not die for as long as he had a liver, a heart and intestines, because those were her favorite meals. He realized what problem he was up against, when the women bit his liver. He then brought out his divination instruments and sounded Ifa on how to get out of the impasse. He was told by Ifa to make instant sacrifice with a goat, a bottle of oil and white cloth, which he brought out quickly from his Akpo minijikun. He quickly cooked the liver, heart and intestines of the goat and told Iyami that food was ready for her. When she smelt the inviting scent of the food, she came out of his stomach. She however told him that it was forbidden for her to eat on full view of anyone. He then made a tent with the white cloth and she went under the tent to enjoy the meal. As she was eating Osa-Meji ran away and quickly found a womb to enter to come to the world. As soon as Iyami finished eating, she looked round for Osa-Meji but he was nowhere to be found. She began to shout his name Osasa, Osasa, Osasa which is the cry of the aje to this day. She is still looking for Osa-Meji up till now. No other divinity is able to
withstand the aje when they decide to fight. They can always subdue all of them, with the exception of Olodumare and Orunmila, due to the way they handled them on prior occasions. Anyone who believes that charms and other diabolical preparations can subdue witchcraft is merely deceiving himself, unless they are aware of special incantations made in the past for this purpose. Irete Owonran (Irete Olota) Ota is the town where the Iyami came into the world: Orunmila goes to look for the secret of Iyami in Ota. He makes ebo of a white canvas sack, a white pigeon and a calabash, which signify, “I have a bird too, don’t fight me.” He arrives at the market on Ota. The mothers say Ha! the soup is here – the one they want to eat has arrived. But Esu, who resides in light and dark, and thus knows everything, has given up their secrets to Orunmila. He tells them, Orunmila is more powerful than all of you combined; he has his bird, bring him yours (submit to his power). They bring their birds, but they are very angry that Orunmila is about to reveal their secret. Orunmila makes ebo of ekujebu, a large and very hard grain (which birds can’t eat) and a chicken “opipi,” which is a chicken that can’t fly. The Iyami wish to attack Orunmila but they can’t because of the ebo which is a secret message that says, The brutal Aje cannot eat ekujebu, you can’t hunt me down; disheveled chicken with clipped wings can’t fly up to the roof, you are unable to bring me death This is how Orunmila obtained the secret of the Iyami. In Ogbe Ogunda we learn how Orunmila was able to appease the anger of the mothers. The peoples children and the children of Eleiye were always fighting. The peoples children went to seek protection from various Orisa. None can help them. The Iyami-Eleiye are too powerful. But thanks to Esu, Orunmila knew their secrets. He new that when they came into the world they drank from seven rivers. He new the names. Orunmila consulted the oracle and made the prescribed ebo of ojusaju leaves, oyoyo, aanu, and agogo ogun, honey, a red parrot feather, efun and osun. He was protected. The oyoyo leaf declares that Iyami is (yonu) satisfied; the ojusaju leaf that she (saju) respects him; the aanu leaf that she (shaanu) takes pity on him; the agogo ogun leaf that he will receive everything he asks for using a bell (agogo). Iyami is satisfied, but on one condition; Orunmila must answer the riddle. What does the phrase,” They say throw, Orunmila says catch.” Esu had told Orunmila the answer. It means they will throw (seven times) an egg and Orunmila must catch it with a wad of cotton. So everyone is happy, and the children are saved. The whole thing ends with a chant regarding the seven rivers the ebo, etc. The riddle points to the epic struggle at the beginning between Orisanla (Obatala) and Iyami. An egg is
always part of an offering to Iyami, and cotton is associated with Obatala. Catching the egg in cotton speaks to how Obatala was able to neutralize the action of Iyami in the creation myth. In Ogbe Osa we learn how the Iyami-Eleiye also work for good. Upon arrival in the world the Iyami-Eleiye go to perch on seven different types of trees one after another. They carry out different activities in each tree; the first three they work for good; the second three for evil; and on the seventh tree for both good and evil. The seven rivers and seven trees I believe refer to the seven heavens above and the seven heavens below. At the highest heaven, the seventh tree, good and evil are joined; the polarity does not exist at that level. ÀJË: THE ENERGY AND THE PERSONA by Chief FAMA Across the board, there has been a high demand for ÀJË pot and ÀJË staff (õpa'gà). But, how much is understood of ÀJË? To discuss ÀJË pot and ÀJË staff, it is ideal to discuss ÀJË, the energy; and ÀJË, the persona. Who is ÀJË and what constitutes ÀJË? Popular western mythology considers ÀJË to be a witch. Is that so? In my opinion, there is a huge difference between ÀJË of the Yorùbá mythology and the witch of the western mythology. The analogue here can best be compared to Èsù of the Yorùbá myth and Satan/Devil of the Christian mythology. Just as Èsù wields a powerful influence in Yorùbá religion, ÀJË wields enormous power. ÀJË doubles in definition: ÀJË the energy (witchcraft) and ÀJË the persona (witch). Even though the name, ÀJË, is used interchangeably, ÀJË the energy is the core of the definition. To be an ÀJË (witch), one must have acquired ÀJË the energy, referred to in Yorùbá local parlance as 'gba eye àjë' (receive the bird of ÀJË.) The receipt of the ÀJË in this instance is not the same thing as receiving a physical pot of ÀJË. Also, the reference to 'bird' in the parlance does not mean that a bird is literally received, either. ÀJË, the energy, is invisible; it is usually transmitted invisibly and discretely, too. ÀJË the energy can be inborn, it can be acquired and it can be received unsolicited. An example of an inborn ÀJË can be found in young children who are naturally pure in spirit and innocent in character by virtue of their closeness to nature at the early ages. At this stage of young children's lives, the purity of their minds are without equal and their acts without prejudice. If a particular child has ÀJË, such a child's pronouncements will be laden, surprisingly, with forecasts of future events and/or accurate references to past occurrences. In a particular instance, the child might reveal information about his/her past life -family history, occupation, even his/her gender in that past life. For example, a young male child once asked his parents, "Where are my tools?" This child was about three years old at the time. He had rushed to his parents from outside while playing with other children when he asked the question. In this family, there was once a knowledgeable herbalist. The herbalist had died decades before the child was born. Since it was already predicted that the herbalist would reincarnate, his tools and other significant elements of his trade were kept in an attic, out of everyone's reach. So, when this child asked for his tools, his parents took him to the room and showed him the tools. That was the end of that story at that stage as the child never asked for the tools again.
Surprisingly, that child whose past professional life was that of a herbalist, is now a medical doctor, a gynecologist. He made it through medical school successfully, in spite of the suffocating challenges of going to college in his country. To date, this gentleman's inborn energy still propels him as it seems that almost all his decisions and actions are successful. Enlightened minds are not surprised about these achievements, but the uninitiated wonder. Another type of ÀJË can be acquired but it does not come in a pot. Rather, it is usually induced. There are many forms of this type of ÀJË; I will limit my writing to just two. The first ÀJË in this category lasts for short periods of time whenever it is used. The instrument to induce the ÀJË in this category is usually put under the pillow at bed time. I will call it a pillow charm. If this pillow charm is properly prepared, any harm intended for the user will be revealed before the plotter has the chance to carry out the deed. Beyond that, ÀJË's actions can be viewed remotely by the user, if she/he is brave enough to dare such intrusive act. This vision is like looking into a mirror - the user sees the ÀJË's action as it unfolds because she/he is momentarily transported to the esoteric sphere where she/he is able to monitor the action from that level. This is the safest way to observe ÀJË and osó (wizard), the persona, in their natural, spiritual habitat. Once the user is out of bed, however, or the pillow charm is removed, the vision ceases. The other ÀJË instrument in the category comes in the form of incisions under the eyes. This action induces permanent vision. The person who has this procedure instantly witnesses ÀJË's activities whenever she/he is around ÀJË, the energy. This is the most dangerous intrusive instrument on one’s activities and/or enclave. From witnesses' accounts, an intruder's eye or eyes can be remotely impaired or compromised, leaving the person blind permanently, except if the person has been fortified ahead to fight off the expected injury. Of the ÀJË instruments enumerated above, the pillow charm possesses less risk as its usage is somehow limited to fending off attack or preventing an attack. The most potent ÀJË is the one transmitted from one person to the other, mostly from a mother to her daughter. Sometimes, from a family member to a new born baby girl; or from another ÀJË, such as a midwife, who might have played an important role during the birth of a baby. The ÀJË in this instance is multifaceted - she has ÀJË, the energy, and she is ÀJË, the persona. ÀJË has the natural ability to see beyond the naked eyes: she has an invisible "third eye." She does not depend on any instrument to view or see anyone or any action. She is herself the energy and the action. Her ÀJË, the power, lasts her entire lifetime. A lucky living being blessed with this type of ÀJË is an endowed spiritualist. ÀJË uses her ÀJË energy to diagnose; treat; heal; change bad luck to good luck; change misfortune to gain; loss to profit. In line with Olódùmarè's will of 'good and bad' going together, ÀJË has her own share of this cosmic justice. She can unleash her ÀJË arsenal, without mercy, if it becomes necessary for her to win a case. This recognition of ÀJË's might brought about her many alias’, some of which are: Àgbà (elder); Ìyá (mother); Ìyámi (my mother); Ìyá àbíyè (mother of a child that will not die), meaning that the ÀJË being so addressed at this juncture, will not attack or kill a child remotely. Importantly, this definition should not be confused with the 'Ìyá Àbiyè' title in the Ògbóni society. Then, eleye (one who possesses a bird) - a fighting term. So, is ÀJË a bad energy; a wicked person? No. ÀJË is good, both ways. ÀJË, the persona, is given an enormous gift by Olódùmarè and she should be so appraised and extolled so that humans can benefit positively and profitably from her influence
with the cosmic forces. According to Õsë Òtúrá in the Odù Ifá, Õsun was the first human to possess ÀJË. How did Õsun get ÀJË, the energy? Olódùmarè empowered Õsun with the ÀJË. Then, He sanctioned Õsun's actions ahead of the ÀJË being tested or used. This everlasting sanction holds true to date as ÀJË are the only beings on earth capable of transmitting ÀJË, the energy, to other deserving beings. After Olódùmarè endowed Õsun with ÀJË, Õsun used her newly bestowed power to call her male colleagues to order when they went against Olódùmarè's order of inclusiveness to that of exclusiveness. With their inability to find solution to their sudden failure, the these male Irúnmôlê trooped back to Olódùmarè. They explained their ordeals to Him. Being the architects of their own ordeals, Olódùmarè directed them back to earth and pointed out their mistakes. They followed Olódùmarè's instructions and regained control of their given tasks. With Õsun's ÀJË, these Irúnmôlê learned of check and balances, they developed a sense of community, and a sense of comradeship and that of partnership. Õsun's ÀJË went from being physically powerless to being spiritually powerful. At the same time, the discipline of nurturing, forgiveness and transcendency was imparted to women through Õsun. Harmony between the genders was strongly established at this initial stage of human cohabitation. As it is, Olódùmarè gave Ösun the instruction, blessing and everlasting sanction to hold, use and transmit ÀJË reverentially to deserving beings, most especially females. ÀJË became a worthy gift, the highest and most rewarding spiritual gift, that an ÀJË can give to her child or to anyone else she feels strongly about. This is where the Yorùbá parlance of 'gba eye ÀJË' holds forth the most. This is the only medium through which ÀJË is received. Af’imo je t’Osun Iye wa a ba won pe l’imo Awa f’imo je t’Osun o We give our reverence to Osun The unseen Mother ever present at every gathering We give our reverence to Osun, o
