Sango's devotees regard him as the embodiment of great creative
potential,
unfortunately one that was tragically and unpredictably tempted to
exceed its own
limits and thereby destroyed what it had created. This dedication to
the power
over life and death and to creativity is reflected in Sango's shrines,
such as the one found at the compound of Baale Koso in Oyo,
which
overflow with carvings, ceramics, and other artwork.
A well-carved mortar,
ritual container, figure, or dance staff is believed to be able to
better focus the
worshippers attention on the important attributes of the god and to
better lure
the spirit to the shrine. Small images of twins (ere Ibeji) are also
often stored in
the shrine, as legend states that Sango was himself a twin.
In 1910, Leo Frobenius took this photo of an interior of a Sango shrine in
Ibadan.
It impressed him greatly, and he wrote that "a lofty, long and very
deep recess
made a gap in the row of fantastically carved and brightly painted
columns.
These were sculptured with horsemen, men climbing trees, monkeys, women,
gods and all sorts of mythological carved work. The dark chamber behind
revealed a gorgeous red ceiling, pedestals with stone axes on them,
wooden
figures, cowrie-shell hangings..."
Carvings of horsemen, with archers and foot-soldiers at their sides, are
depicted
on many objects including houseposts, doors, and festival masks, such as this Epa
mask.
The Oyo Empires three centuries of military dominance depended heavily
upon
the victories of its cavalry. Large war horses, costing up to 120,000
cowries
each, had to be imported from the northern savanna regions. This left a
great
impression on the forest peoples, where horses were expensive and could
not
survive for long.
Sango worshipers may be called to follow him in many ways. Most are taught by their parents and family, others consult a diviner. Sometimes men and women are suddenly possessed or called to Sango in a dream. Many of the devotees are female, and even male priests dress as females. Most carvings and wooden figures associated with Sango also depict females.
Sango's symbol, the twin-stone ax, or oshe Sango, is believed to be
energized
with protective powers. It is used as a badge of membership in the cult.
Sango is
a god who possesses his devotees by entering their heads. When a
priestess has
been seized by the spirit of the god, she will dance with the wand in
her left hand.
A twin-stone ax rises out of the top of the wand's carved head,
symbolizing this
dramatic change and representing priest and deity simultaneously. As
she moves,
a chorus of women call out the praises of Sango, and an orchestra of
drummers
beat out sharp, erratic, staccato rhythms on their Bata drums.
Suddenly, the
priestess will wave her wand fiercely, threatening the audience,
mimicing with
her movements lightning lashing from storm clouds and then quietly
receding.
The Neolithic stone axes, or thunderstones of Sango, are held aloft in a caryatid wooden bowl (arugbe Sango). In some areas, an inverted mortar serves as a pedestal (odo Sango), like the one depicted here of a Sango priestess and a dog. The sound of yams being pounded in a mortar resembles the pounding of thunder in the heavens. By inverting the mortar, the priestess hopes to mute Sango's destructive power. The sides of the ritual mortar are carved with Sango-associated emblems and figures, such as in this example, a priestess holding a gourd rattle (shere) used to call the deity, and a dog, symbol of faithfulness and speed in the forest.
A kneeling women holding her breasts in respect, as in this housepost depicting a
kneeling Sango priestess, or
offering a fowl
in thanks, or holding a bowl filled with kola nuts
is a popular subject
in Yoruba art. Figures in this pose are known as olumeye, meaning
"one who
knows honor." They are found on the altars of many Yoruba deities.
The model
for the pose is that of a kneeling young bride, with her hair dressed in
a
traditional crested style called agogo. Her strands of waist beads
signify
virginity. As a decorative support at the entrance to a Sango shrine,
the female
may be depicted as a priestess wearing beaded dance panels (yata
Sango).
Last updated 29 March 1995.