Olaniyi Akindiya (Akirash)
Ara Oru Kinkin (Masquerades Mythology) Dec 8, 2018 – Mar 3, 2019
Olaniyi Akindiya (Akirash) Ara Oru Kinkin (Masquerades Mythology) John M. O'Quinn Gallery
The Egungun Masquerade festival is celebrated by adherents of the traditional religion in Southwest Nigeria, who believe that their ancestors reincarnate and pay them regular visits to bless them. The yearly festival is marked with pomp and pageantry. Egungun, as the ancestors are called, come decked in colorful costume, accompanied by loud drumbeats and song and speak in guttural voices to give the impression that they are not ordinary beings. People who are childless, sick or possessed of demons are prayed for. Farmers take their harvests to the king’s palace to be blessed by the Egungun before eating or selling them. This project involves the creation of masquerade costumes and masks from traditional materials, incorporating symbols and patterns from cultures around the world including, but not limited to, Ghana (Adinkran), Nigeria (Uli, Arewa), South Africa (Ndebele), Cameroon (Bamuleke), Australia (Aboriginal), New Zealand (Mauri), and New Mexico (Pueblo). The Egungun is an institution that has developed over time. Civilization has not eroded it from the culture of the land. Its appeal transcends time. Public Programs Quest & Question: Artist talk and Q&A with Akirash Saturday, January 19, 2019 1 PM SPEAKEASY featuring Akirash Saturday, February 9, 2019 2 PM
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Olaniyi Rasheed Akindiya aka Akirash, was born in Lagos, Nigeria. He first received his BSC degree in Biochemistry from the University of Agriculture Abeokuta in Nigeria in 1991 and studied Fine and Applied Art at the Institute of Textile Technology Art and Design in Lagos, Nigeria in 1995. He now lives between Lagos, Nigeria and Pflugerville, Texas. Olaniyi was a recipient of the Innovative Artist Award from the Mid America Artist Alliance in 2017, Pollock Krasner Foundation Award 2016/17 & 2011, Cultural Initiative & Capacity Building Grant, Culture Alive from the city of Austin 2016/17, the Santo Foundation grant 2015, and the Commonwealth Connection Award UK 2011. Olaniyi’s work has been exhibited in the 12th edition of Dak’Art Biennale, Dakar- Senegal 2016. He has also participated in Chale Wote Street Festival Accra, Ghana in 2013, International Multimedia Festival YagonMyanmar in 2012, infecting the City Street Festival Cape Town, South Africa in 2012, and the East Africa Biennale (ESTAFAB), Dar Sallam, Tanzania in 2005 & 2007. Dr Amanda Hellman is the curator of African art at the Michael C. Carlos Museum, Emory University, where her most recent exhibition, DO or DIE: Affect, Ritual, Resistance, works by Fahamu Pecou, opened in January 2019. Her research in West and East Africa reveals how heritage formation and artistic practice are inextricably linked. Amanda has taught in the department of art at Emory University, Oglethorpe University, and Agnes Scott College. Most recently she has published “Die and Do: Egungun as a form of resistance and recovery,” in Visible Man: Fahamu Pecou and “To Store is to Save: Kenneth C. Murray and the founding of the Nigerian Museum, Lagos,” in the volume Museum Storage and Meaning.
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Olaniyi Akindiya (Akirash) Ara Oru Kinkin (Masquerades Mythology) Essay by Dr. Amanda Hellman
As a Yoruba Nigerian, Akirash understands Egungun beyond the academic study of the masquerade; he describes seeing the masquerade as a child and how it signified celebration, festivals, gifts, and gatherings with family. It was only as an adult on another continent that he began to understand the power of Egungun and the core attributes that give it meaning. Egungun is a mask that has traveled out of Nigeria through the movement of the Yoruba people. Some sources suggest Egungun was born in the kingdom of Oyo in the 17th century and came to the Americas with the slave trade, where there are variations of it in Bahia, Port-au-Prince, New Orleans, and Havana. In Freetown, Sierra Leone, a city established by the British at the end of the 18th century for freed slaves from Britain and their former colony in America, Egungun emerged as a masquerade that could act as a form of political resistance and a source of healing. Communities are established and united around Egungun. The mask itself is worldly and able to transform when needed. As an artist creating Egungun in Texas, Akirash incorporates patterns and imagery from cultures all over the world into his masks, embedding this history of migration and adaptability. Egungun is a Yoruba masquerade from southwest Nigeria, produced by Egungun societies and enacted at funerals and annual festivals. Egungun means “the powers concealed,� and it gives shape to spirits and ancestors that otherwise cannot be seen.1 The ancestor, given form again on earth through the masquerade, can now act on behalf of the community. Though Egungun are governed by members of the exclusive society, the masquerade is always performed in a public space, openly for everyone to see. Egungun serve to create a sense of community and as a reminder of what it means to be Yoruba. By displaying Akirash’s worldly Egungun at Lawndale Art Center and continuing the tradition of performing the masks publicly, the artist expands the community beyond the Yoruba diaspora, continuing the practice and ensuring its survival as a thriving living tradition. While Egungun is one of the most widely studied masks, it is only in the last decade that has it been acknowledged as more than a mask that gives form to ancestors; Egungun are now understood to be vital participants in the political and social discourse of Yoruba communities.2 As such, the mask is more than simply a work of art; it is a mask that must 4
respond to contemporary events and culture. Although certain aspects of Yoruba doctrine and practice must be conducted according to tradition, there is a place for innovation and creative expression in Egungun.3 When the core of Egungun is preserved, aesthetic adaptability becomes a key component that keeps the mask relevant, allowing it to adjust to a changing society. Perhaps it is the Egungun’s ability to adapt and change that explains its rich history and makes it a mask that can travel beyond the borders of Yorubaland. Historically, after tragedy, political upheaval, or social turmoil, as the Yoruba began to rebuild their communities (both in Nigeria and abroad), they relied on traditional practices and cultural structures such as masquerades.4 It was around the Egungun tradition that diverse communities, which might have had no previous interaction, could come together to find common ground from which to build a new culture. Sewn into each Egungun is the memory of movement and the mask’s ability to bring people together. In a more abstract way, we can view Akirash’s Egungun as bringing diverse communities together by incorporating symbols and visual elements from across Africa and all over the world. These Egungun are no longer simply Yoruba, but are a patchwork of symbols that create links between new cultures and Yoruba traditions, demonstrating how we are unified through masquerade. 1 Marilyn Houlberg, “Egungun Masquerades of the Remo Yoruba,” African Arts 11, no. 3. (1978): 20. 2 John C. Willis, “Masquerading Politics: Power and Transformation in a West African Kingdom,” (Ph.D. diss., Emory University, 2008), 7–8. Historian Stephen Ellis described the way in which masquerades were used in 20thcentury Liberia to prepare for and execute political resistance against the formal governments and informal powers. See Stephen Ellis, “Men and Devils,” in The Mask of Anarchy: The Destruction of Liberia and the Religious Dimension of an African Civil War (New York: New York University Press, 1999), chapter 6. 3 Even though elements of ritual are fixed, particularly in the recitation of oral texts, individual expression is vital to the articulation of Ifá (Yoruba system of knowledge mediated by a diviner) and the artistic integrity of Egungun. See Wándé Abímbólá, “Continuity and Change in the Verbal, Artistic, Ritualistic, and Performance Traditions of Ifá Divination,” in Ifá Divination, Knowledge, Power, and Performance, ed. Jacob K. Olupona and Rowland O. Abiodun. (Bloomington, Indiana University Press, 2016), 33. 4 Willis, 2008, 21.
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Olaniyi Akindiya (Akirash) Ara Oru Kinkin (Masquerades Mythology) Exhibition Checklist
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01. Boju Boju: Hidden Faces #4, 2018 Mixed media tapestry 30 x 29 x 14"
12. Egun 2, (Ajodun Ikore, Farm Harvest), 2017 Mixed media tapestry 7 x 4 x 6'
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13. Boju Boju: Hidden Faces #6, 2018 Mixed media tapestry 38 x 28 x 12"
Egun 4, (Taiwo Ibeji, One Half of Twins), 2017 Mixed media tapestry 7 x 4 x 6'
03. Boju Boju: Hidden Faces #10, 2018 Mixed media tapestry 36 x 30 x 14" 04. Egun 5, (Kehinde Ibeji, Second Half of Twins), 2017 Mixed media tapestry 7 x 4 x 6' 05. Boju Boju: Hidden Faces #2, 2018 Mixed media tapestry 34 x 28 x 12" 06. Egun 9, (Gelede), 2017 Mixed media tapestry 7 x 5 x 6' 07. Boju Boju: Hidden Faces #11, 2018 Mixed media tapestry 30 x 28 x 12" 08. Egun 1 (Yemoja Orisha Goddess), 2017 Mixed media tapestry 7 x 4 x 6' 09. Boju Boju: Hidden Faces #5, 2018 Mixed media tapestry 38 x 28 x 16" 10. Egun 7, (Yeye Olomo Yoyo Deity), 2017 Mixed media tapestry 7 x 5 x 6' 11. Igbale: Temple, 2018 Mixed media tapestry Dimensions variable
14. Boju Boju: Hidden Faces #7, 2018 Mixed media tapestry 35 x 26 x 14" 15. Egun 3, (Ogun God of Iron and War), 2017 Mixed media tapestry 7 x 5 x 6' 16. Boju Boju: Hidden Faces #1, 2018 Mixed media tapestry 33 x 24 x 14" 17. Egun 6, (Omi Labuwe, Rainy), 2017 Mixed media tapestry 7 x 4 x 6' 18. Boju Boju: Hidden Faces #8, 2018 Mixed media tapestry 28 x 27 x 13" 19. Egun 10, (Sango God of Thunder), 2017 Mixed media tapestry 7 x 5 x 6' 20. Boju Boju: Hidden Faces #9, 2018 Mixed media tapestry 38 x 29 x 16" 21. Egun 8, (Osu Ola Le, New Moon), 2017 Mixed media tapestry 7 x 5 x 6' 22. Boju Boju: Hidden Faces #3, 2018 Mixed media tapestry 30 x 29 x 15" 23. Oju Inu: Insight, 2018 Video, duration 03:00
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EGUN #1 (YEMOJA ORISHA GODDESSES OF THE SACRED WATERS) Yemoja is the imposing Mother of Oceans, Orisha, Goddess, All Mothers. From the Yoruban and Afro-Caribbean traditions, devotees will be making pilgrimage to her shores to pay respect, celebrate, and pray. They turn to Yemoja for nourishment, healing, cleansing, and protection. She is stern and implacable at times, but she is also the embrace that we crave. Her soothing whispers sweep through our souls, comforting, nurturing, reassuring. Yemoja’s presence makes everything brighter, more beautiful, more wondrous. Her laughter is intoxicating as She invites us to dance to her sacred drums and surrender to all the pleasures of a life well-lived. Her name means “source”. She is the source of the river, of the people, of children, of life, of the very blood of life itself. As the youngest orisha, Yemoja quickly demonstrated that she was intrinsically linked with all life. If Yemoya withdraws from our world, life is over. Her elemental power as the source of Sweet Waters on Earth (the fresh waters) makes life possible and preserves life for creation. EGUN #2 (AJODYN IKORE: GOOD HARVEST) The New Yam festival is celebrated in almost all parts of Nigeria, but given more prominence in the eastern part of the country. It is a local celebration trending from northern Nigeria through the midwestern states of Benue and Kogi States to Enugu and Cross River States and beyond. During the New Yam festival, no farmer is allowed to eat any yam from the new harvest until the appointed day when the king observes the ancient culture of the land and then declares the new yam harvest open to be eaten by the people. Cultural dances, acrobatic displays, and masquerade performances are featured at the Festival of the New Yam. The New Yam Festival is one of the most important and glamorous festivals in Igboland, southeast of Nigeria. It is celebrated between August and October to thank the gods for a good harvest. It also heralds the harvesting season and provides an opportunity for a social gathering of the tribes. Where wealth is measured by yam, yam is the king’s crop. A large barn or barns is definitely an indication of wealth. Serving yam fufu instead of cassava or any other kind of fufu was a sure sign that the visitor was considered important or the host. To a large extent, this association lingers till today. A prestigious party or occasion will have pounded yam fufu on its menu 8
The new yam is harvested earlier than August, but anyone who considers himself a true son or daughter of Igboland will not eat it before the festival which is the cultural approval or signal to begin consumption. The festival begins with a the public ceremonial roasting of whole yams by the chief or titled elders of the community, after the yams have been first offered to ‘Ohajoku’ or the yam or earth gods, the rest are shared and the community can then feel free to consume new yam without incurring the wrath of the gods. In modern times, this festival provides an opportunity to call home sons and daughters abroad to renew and reaffirm brotherhood and a sense of belonging and to plan for community development. Good harvest starts with Yam and later extends to all other crops and fruits. The festival is characterized by elaborate personal and communal preparations and competitions; new masquerades, dances and performances vie to outdo the other, new clothes and designs on parade vie to outshine the last, though the duration and grandeur differ from one community to the other. EGUN #3 (OGUN THE GOD OF IRON AND WAR) Ogun, or Ogun Onire, is the god of war and iron of the Yoruba people of West Africa. In Yoruba lore, Ogun and the other gods climbed down to earth on a spider web. When creation was completed, the gods realized that people needed to clear more land in the forest where they lived. Unfortunately, the only tools available were made of soft metal, a material not suitable for cutting down trees. However, Ogun had been given the secret of iron by Orunmila, son of the supreme god Olorun, and he used an iron ax to clear the forest. Ogun later shared the secret of iron with the other gods and with humans. He also showed them how to shape the iron into weapons. Though a fierce god, Ogun is not evil and will help those who pray to him. Yoruba blacksmiths have traditionally sacrificed dogs to Ogun, and each year they hold a three-day festival in his honor. EGUN #4 & #5 (TAIWO & KEHINDE: IBEJI - TWINS) The Ibeji (also called Ibelli, Ibeyi, Meji, Melli or Jimaguas) is the orisha of the divine twins. While there are two individuals when twins are born, the Ibeji is one orisha. Twins are considered sacred by birth among the Yoruba people. The Yoruba people have one of the world’s highest rates of twin birth. The average world rate of twins is 0.5% where
the Yoruba people have a 5% twin birth rate! The Ibeji (and all twins for that matter) are considered one soul contained in two bodies; inextricably linked in life through destiny. The Ibeji are the orishas of joy, mischief, abundance and childish glee. They are the children of Changoand Oshun and are considered to be the first twins born on the Earth. When Oshun gave birth to the Ibeji, she was shunned by the people who lived in her village. Only animals gave birth to multiple babies until then, so they branded Oshun a witch and cast her out of the village. Oshun, in her short-sighted panic, threw the Ibeji out of her house and denied being their mother. This proved to be the start of Oshun’s downward spiral eventually leading to her loss of all wealth, stability and eventually even losing her sanity. The Ibeji were taken in by the orisha Oya who had desperately wanted children her entire life but was barren and had only had stillborn children. Some lineages vary and say that Yemaya took the Ibeji in and raised them. The Ibeji are said to bless anyone who receives them with happiness, joy, abundance and laughter. There is a saying that Ibeji drove away “the devil” (misfortune) by driving him crazy through playing their enchanted drumsThe Ibeji are considered as orisha (idol) of anyone who is born a twin, including those who have lost their twin sibling. In Yoruba society, when a mother gives birth to twins, Ibeji are consecrated and given to her as well as a set for her twin children. If one of the twins dies, a special doll is consecrated to act as a body for that deceased child’s sibling to carry (So that the two-bodied soul of the twins can remain intact. Otherwise the surviving twin would quickly follow his or her sibling to death.). When the second twin dies, a second doll is consecrated to match the first and both are kept with the consecrated pots by the mother. This tradition is what evolved in Yoruba’s tradition where the Ibeji are received with two pots containing the mysteries and two consecrated dolls to accompany them. The first born twin of the Ibeji is considered the younger of the two and is named Taiwo. The second born is considered to be older and is named Kehinde. Taiwo is dressed in red and white, and Kehinde is dressed in blue and white. There are lineage variations in the genders of the twins. It is a traditional practice to have an annual party in honor of the Ibeji where children are invited, cake is served and games are played by all who attend (and even adults let their inner kid out to play).
EGUN #6 (OMI LABUWE - RAINY) The Berom is the name of the African people of central Nigeria. They are predominantly farmers and hunters, culturally rich with the population of about 2.5 million people scattered across the globe. The Berom constitute the largest of the indigenous ethnic groups on the Jos Plateau taking almost 47 percentage of the state population covering about four local government areas such as Jos North, Jos South, Barkin Ladi (Gwol) and Riyom local government area and some in southern Kaduna province. Mandyeng is a major festival celebrated in Berom land to usher in the rainy season. The festival normally takes place in March or April. In the past, the Berom regarded the Mandyengthe most vital of festivals which ensured a good period of farming and hunting. Although not all the Berom communities celebrate, villages that perform Mandyeng claim to have their root from Riyom or royal families including Vwang, Kuru, Zawan, Gyel, Rim, Bachit, Bangai, Lwa, Sop, jol wereng Kwi, Gwo, Kakuruk, Kuzeng, Kurak, Kuchin, Rahos and Tahoss. During this Festival Masquerades were brought out to mark the season, to entertain and to pray for lot of rain for their crops EGUN #7 (YEYE OLOMO YOYO – DEITY) Although every day in any year is dedicated to a deity festival in Ile-Ife, Osun State, the most spectacular celebration of the state is the Osun Osogbo festival that takes place annually in Osogbo, followed by the Olojo festival of Ile-Ife. The Osun Osogbo festival is a celebration dedicated to the Osun river goddess, and during the celebrations people come from all walks of life to offer sacrifice to the river goddess and to make supplications. It is a week-long celebration taking place between July and August in the sacred forest groves of Osun River. Every August, lots of people from around the world throng to Osun State, Nigeria, to attend and participate in the famous, twoweek long Osun-Osogbo Festival. It is held at the illustrious and sacred Osun Grove, which was named as a UNESCO World Heritage Site in 2005. Although a sizable number of the participants are Osun indigenes, the festival has, over the years, morphed into an event that attracts the attention of tourists and visitors from other parts of the world. According to legend, the festival was borne out of the yearly sacrifice done to celebrate the river goddess, who serves as the protector of the clan. The legend goes thus: about seven centuries ago, when the current Osogbo community was founded. The river goddess assured the people of her protection
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and promised to bless their women with fruitfulness of they would offer a sacrifice to her annually. The contract was sealed and the sacrifices and ceremonies became a thing – or so the legend goes. The Osun-Osogbo festival has evolved beyond just being a cultural event celebrated by the Yoruba peoples of Osogbo to being a renowned international celebration that keeps attracting new participants yearly. The Osun-Osogbo festival, without a doubt, is more than just sacrifices performed to celebrate the Osun River goddess. There are several activities planned around the festival, as tourists and visitors all come to witness, interact and partake in the two-week long celebration. However, there is a sequence of rituals that kick off the celebrations and they are: 1. The Iwopopo Ritual: This is a ritual done to cleanse the city from evil. It is done first before the festival starts properly. 2. The Ina Olujumerindinlogun Ritual: This is the traditional ritual that involves the lighting of a 16-point lamp which is believed to be 600 years old. This ritual is carried out three days after the Iwopopo ritual is done. 3. The Iboriade Ritual: The Iboriade ritual is when all the crowns of the past kings – Ataojas– are assembled for blessings by the sitting Ataoja of Osogbo, the Arugba, the Yeye Osun, and a committee of priestesses. 4. The Arugba Ritual: This is one of the major highlights of the festival. A calabash containing the sacrifice materials that would be used to appease and worship the goddess is carried across town by a votary virgin, on her head. As she leads the procession to the river, the people, seeing her as a representative of the goddess, cast their problems on her and say prayers. Beyond the traditional rites enumerated above, the Osun-Osogbo festival has a lot of other side attractions and activities that make the event a wholesome experience for even first time visitors and tourists. There are trade fairs, games and other fun activities planned out that make it an exciting two weeks of celebration. EGUN #8 (OSU OLA LE – NEW MOON) It all began in 1892, when Oba Adesumbo Tunwase, who signed the treaty of relationship with the British Queen, gave land to the Muslims to establish their Central Mosque. At the same time, he agreed with the British missionaries to preach Christianity in Ijebu Land. He also went further to allow some of his children to be baptized. To cap it all, he gave the land on which the first church in Ijebu Land 01
was built; St Saviours Italupe. The Muslims started the Ojude Oba Festival, which when translated means “Festival in the King’s Court”. Using it as an occasion to pay homage. Appreciating the reigning Monarch for his benevolence towards them. At the main arena, people of different age levels sit in groups, observing proceedings at the high table. Dressed in flamboyant outfits that distinguish each group from another, they create a colorful ambience, with extreme pomp and pageantry. Amidst heavy singing, dancing and drumming, each age level, called Regberegbe, take turns to pay homage to the paramount ruler of Ijebu-land by presenting him with different foodstuffs and other items. Both men and women belonging to different Regberegbe also display their dancing prowess. Notable dignitaries and invited guests sit on the center stage, flanking the Oba and his family on either side. This Masquerade has a lot do with the way the Yoruba count the months, how they know when the one month ends and another begins. It also relates to how women who are pregnant use a charcoal to mark a corner of their room to know how many months they are into their pregnancy. This tradition was the practice before colonization introduced Christianity and the Gregorian calendar. The Yoruba calendar is more similar to the Islamic lunar calendar where months are marked by the new moon. EGUN #9 (GELEDE) Gelede is an annual festival celebrated by the Yoruba in which womenfolk of all ages, some pregnant, some carrying babies on their back, dance spiritedly to Gelede music because its rhythm is thought to have a tonic effect on “body and soul”. Bubbling with filial love, the men mingle and dance freely among the women, all celebrating the sanctity of motherhood. The Gelede spectacle of the Yoruba is a public display of colorful masks, which combines art and ritual dance to amuse, educate and inspire worship. Gelede celebrates “Mothers” (awon iya wa), a group that includes female ancestors and deities as well as the elderly women of the community, and the power and spiritual capacity these women have in society. However, this power may also be destructive and take the form of witchcraft; therefore, Gelede serves the function of appeasing this power, as well. The Gelede headdress was worn by men who dressed as women and performed with singing dancing and drumming to entertain the women throughout the festival. The festival begins with an all-night concert
called efe, which features the Efe male mask, who uses satire to entertain and educate. Gelede displayed all forms of female shapes in their masquerade form especially big buttocks and heavy chests. The masks on their heads carry different carvings depicting women with children etc. They wear anklets that make noise when they dance different styles this is the main attraction for children singing following them singing “Gelede tibobo. Tikatikatibobo!!!!” to the chimes of the anklets. It very entertaining to children and everyone always look forward to it every year. EGUN #10 (SANGO GOD OF THUNDER) Sango Festival is an annual festival held among the Yoruba people in honor of Sango, a thunder and fire deity who was a warrior and the third king of the Oyo Empire after succeeding Ajaka his elder brother. Sango was the third Alaafin king of old Oyo Empire. He took over from his brother Ajaka who was regarded as weak. During his reign he was constantly fighting battles with other towns. He mistakenly destroyed his palace with lightning which brought about the end of his reign. Sango is widely referred to as the God of Thunder. He ruled Oyo kingdom for seven years and married three wives Oya Oba and Oshun. He is worshiped on the fifth day called ojoJakuta. His followers like to wear a red attire. Sango is a popular Orisa in Yorubaland, as such his festival plays a very important traditional and cultural role with the Yoruba people. Sango is regarded as one of the founding fathers of the present Oyo State. It is a day when Yorubas reconnect which each other, and to showcase the rich cultural heritage of the Yorubas such as drumming, dancing and singing. The festival dates back over 1000 years when Sango mysteriously disappeared from the palace. He was believed to have committed suicide after he was challenged by one of his powerful chiefs who ordered him to leave the palace. Since then, the festival has been celebrated by the people of Oyo. The Sango Festival is a 10 days event, which is marked with pomp and pageantry. Worshippers and visitors can be seen in a happy mood. The worshippers are usually adorned with white or red attire. The first day of the festival is celebrated with games of different kinds. Some of the activities lined up for the day are: · Ayo competition · Ogun Ajobo Day traditional night rites.
Ayo Competition Ayo is a special game that is popular among the Yorubas. It is one of the oldest games in Yoruba land and it is usually played by aged men sitting face to face. It involves moving pebbles from one hole of the board to another. Ogun Ajobo Day The Ogun Ajobo Day is celebrated on the second day of the festival. On this day, the traditional groups from the Oyo zone make great display to the cheers of people. Olode Cultural Display from Oyo, Ondo, Ekiti, Osun, Ogun and Kwara States would be paraded from Owode in Oyo town to the palace of Alaafin. A night party is usually held called the Aisun Koso featuring popular Yoruba artists amidst drinking and eating. Third Day of Sango Festival On the third day, Friday, other cultural groups such as the Igunu and Omolulu would perform. This day is called the Sango Obakoso day. Fourth Day Sango Festival On this day the shrine of Sango Koso would be opened. This is usually marked by wide celebrations and performance, followed by a night party for Oya Okenira. Fifth To Ninth Day of Sango Festival From Sunday through Thursday and Friday, there would be celebrations of Oyo State, Oya Day, Aje Oloja Day, Sango Oyo Day, Osun State Day and Yemoya Day, Esin Elejo Day as well as Kwara State Day. This period is usually filled with excitement and wide celebrations among the people. Grand Finale This day marks the ending of the festival. On this day, a group of followers called Elegun Sango would entertain the crowds with magic, which many find frightening. The Elegun Sango come from different parts of the country such as Oyo, Ekiti, Ede, Ibadan, Ajagba and Koso. They usually plait their hair and make their eyes look frightening. This also involves elaborate Masquerades. The Elegun Sango Koso Alaafin, is usually the last to appear on the stage at the grand finale. He would go round Oyo Township, praying for people, before coming to the palace. He greets the people and goes to Iya Ilekoto before leaving the palace. The crowning of the Alaafin is usually done at the shrine of Sango in Koso. It is a significant event for the Alaafin because without wearing the crown of Sango, he is not yet regarded as an Alaafin. The crown gives him the right to rule from the old Oyo Empire to the present Oyo.
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Installation image by Ronald L. Jones. Mission Lawndale is a multidisciplinary contemporary art center that engages Houston communities with exhibitions and programs that explore the aesthetic, critical, and social issues of our time. About Lawndale believes in the role of art and artists to inspire and inform the world around us. By serving as an intimate gathering place to experience art and ideas, Lawndale seeks to foster connections between communities in Houston and beyond. Lawndale presents a diverse range of artistic practices and perspectives through exhibitions and programs, including lectures, symposia, film screenings, readings, and musical performances. Through exhibition opportunities, the Artist Studio Program, institutional collaborations, and the engagement of an advisory board comprised of artists, curators, and scholars, Lawndale seeks within its mission to support all artistic and cultural communities of Houston. Support Lawndale’s exhibitions and programs are produced with generous support from The Brown Foundation, Inc.; David R. Graham/Felvis Foundation; the John R. Eckel, Jr. Foundation; Houston Endowment; Kathrine G. McGovern/The John P. McGovern Foundation; The National Endowment for the Arts; the Texas Commission on the Arts; The City of Houston; and The Wortham Foundation, Inc.
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