Literature Review
Shango – Yoruba God of Thunder and Lightning.
- Shango, Yoruba God of Thunder and Lightning
Shango, is a major deity of the religion of the Yoruba of southwestern Nigeria. He also figures in the religion of the Edo people of southeastern Nigeria, who refer to him as Esango, and in the religion of the Fon people of Benin, who call him Sogbo or Ebioso. Like all of the Yoruba gods (orishas), Shango is both a deified ancestor and a natural force.
The ancestral Shango was the fourth king of the town of Oyo. Oral tradition describes him as powerful, with a voice like thunder and a mouth that spewed fire when he spoke. When a subordinate chief challenged his rule, many townspeople were impressed by the subordinate’s feats of magic and deserted Shango. Defeated in the eyes of most of his subjects, Shango left Oyo and committed suicide by hanging himself. His faithful followers, however, claimed that he really ascended to the heavens on a chain. They claimed that his disappearance was not death but merely the occasion of his transformation into an orisha. He later took on some of the attributes of a preexisting deity, Jakuta, who represented the wrath of God. Shango’s followers eventually succeeded in securing a place for their cult in the religious and political system of Oyo, and the Shango cult eventually became integral to the installation of Oyo’s kings. It spread widely when Oyo became the centre of an expansive empire dominating most of the other Yoruba kingdoms as well as the Edo and the Fon, both of whom incorporated Shango worship into their religions and continued his cult even after they ceased being under Oyo’s control.
The natural forces associated with Shango are fire and lightning. His most prominent ritual symbol is the oshe, a double-headed battle-ax. Statues representing Shango often show the oshe emerging directly from the top of his head, indicating that war and the slaying of enemies are his essential attributes. The oshe is also used by Shango’s priesthood. While dancing, priests hold a wooden oshe close to their chests as protection or swing it in a wide chest-high arc. During Shango’s reign, he selected the bata drum as the specific kind of drum to be played for him. Shango is said to have played bata drums to summon storms; they continue to be used by his devotees for that purpose.
During the 18th and 19th centuries, thousands of Yoruba, Bini, and Fon people were enslaved and transported to the Americas. In some locations in the Caribbean and South America, African slaves and their descendants were able to reestablish Shango’s worship. In the early 21st century, Shango was worshipped in the Vodou religion of Haiti, the Santería tradition of Cuba, and also in the Candomblé cult of Brazil. Two new religious movements also bear his name: Trinidad Shango (also known as the Shango Baptists) and the Afro-Brazilian cult Xangô, most prominent in the city of Recife.
Sango
Introduction
Sango, alternatively known as Jakuta, holds a prominent position within Yoruba mythology, revered as the deity presiding over thunder, lightning, and justice. His significance lies in embodying the formidable power and capricious nature inherent in these natural phenomena. The narrative of Sango is intricately interwoven into the cultural tapestry of the Yoruba people, originating from the regions of present-day Nigeria, Benin, and Togo. This multifaceted deity is not only associated with thunder and lightning but also holds sway over fire, justice, masculinity, and dance.
Beyond his divine attributes, Sango is recognized as a powerful historical figure, having served as a distinguished king of the Oyo Empire. Posthumously, he ascended to a deified status, a testament to his exceptional rule and his deep connection with the elemental forces he represents. Sango’s visual representation often includes a portrayal with a double-headed axe and a fiery crown, reflecting the complexity of his divine character and ensuring that his tales endure, captivating and inspiring generations.
Physical Traits
Sango is commonly represented as a formidable and imposing figure exuding a commanding presence. His dark red skin serves as a visual homage to the African roots deeply embedded in Yoruba mythology. Central to his portrayal is the presence of a double-headed axe, a potent symbol of his dominion over the forces of thunder and lightning. Beyond being a mere weapon, this iconic axe embodies the essence of justice, a tool wielded by Sango to enforce divine law and maintain cosmic order.
Depicted as tall, handsome, and imposing, Sango’s visual imagery is consistent in conveying his authoritative demeanor. His fiery red complexion and piercing eyes vividly mirror the intensity of the power he commands. The double-headed axe, intricately linked to Sango’s symbolism, not only signifies his authority but also represents the embodiment of justice in the divine realm. This consistent depiction ensures that Sango’s visual identity resonates with the profound attributes of power and justice he represents in Yoruba mythology.
Family
Within the realm of Yoruba mythology, Sango is recounted to have entered into matrimony with three distinct wives: Oya, Oshun, and Oba. Each of these unions serves as a symbolic representation of different facets of Sango’s character and dominion. Oya, the goddess presiding over the Niger River, is affiliated with the elements of wind, storms, and transformation. Oshun, the goddess synonymous with love, beauty, and fertility, is intimately connected with fresh water, pleasure, and artistic expression. As the inaugural spouse, Oba assumes the role of the goddess governing marriage and domestic life.
Sango’s familial associations extend beyond the mortal realm, entwining him in relationships with other Yoruba deities. Notably, he is acknowledged as a sibling to Ogun, the god synonymous with iron, and Oya, the goddess wielding influence over the winds and storms. These celestial family ties further accentuate Sango’s significance within the pantheon, solidifying his place among the revered and powerful entities in Yoruba mythology.
Other names
Sango bears various names, each shedding light on distinct aspects of his divine essence. Identified as Jakuta, he earns the title “Stone Thrower,” an allusion to the thunderbolts he hurls with the force of stones. Embracing the persona of Alafin Orin, he becomes the “King of Drummers,” a recognition of his legendary prowess in the art of drumming. Additionally, he answers to Olukoso, signifying “One Who Carries Shango,” and Oba Koso, denoting the belief that the “King Does Not Hang,” a reference to his mythical narrative of death and subsequent resurrection.
Powers and Abilities
As the deity holding sway over thunder and lightning, Sango commands formidable power. His abilities extend to summoning storms, hurling lightning bolts, and eliciting thunderous roars that resonate through the earth. In addition to his mastery of the natural elements, Sango is a virtuoso drummer, capable of crafting rhythms that evoke deep emotions and awaken spiritual energies. The intensity of his dance movements is rumored to possess such force that it can even induce earthquakes.
The tales of Sango’s legendary exploits are woven into myths that showcase not only his immense power but also the intricacies of his multifaceted personality. A particularly renowned narrative centers around the “dance of Sango,” where his rhythmic and dynamic movements are said to trigger thunderstorms. Sango’s renown is further heightened by his fiery temper, capable of unleashing thunderstorms and lightning strikes when provoked.
His duality as both a warrior and a king is a central theme in the myths, manifested in his strategic acumen and martial prowess. This amalgamation of attributes elevates Sango to a revered status, captivating the admiration of both mortal and divine entities within the mythological landscape.
Modern Day Influence
In contemporary times, the impact of Sango extends across various facets of modern culture. The symbolic colors associated with him, red and white, frequently find expression in Yoruba-inspired art and fashion. His legendary drumming skills have left an indelible mark on music, particularly influencing genres like Afrobeat and Juju. Within religious practices, Sango remains a subject of veneration in Santeria, Candomble, and other Afro-American religions. His narrative serves as a poignant reminder of the potent forces of nature, the imperative of justice, and the enduring resilience of cultural traditions.
Sango’s worship transcends geographical boundaries, with practitioners of Yoruba-based religions, such as Santeria and Candomblé, continuing to revere him worldwide. Beyond the realms of religious devotion, Sango occupies a significant place in art, literature, and music. His influence goes beyond the spiritual, positioning him as a symbol of strength, courage, and justice. Those seeking protection from injustice or championing a cause often invoke Sango, viewing him as a patron of resilience.
Moreover, Sango is occasionally perceived as a symbol of social justice and a force against oppression. His association with lightning and thunder is metaphorically interpreted as representative of the people’s power to rise against injustice. This dual role, both in the spiritual and symbolic realms, underscores the enduring relevance of Sango’s archetype as a source of inspiration for those advocating for justice and resisting oppression.
Shango is one of the most popular Orishas of the Yoruba people of southwestern Nigeria. He is also worshiped Cuba as Chango (Santeria) and among the Candomble of Brazil as Xango.
According to Yoruba mythology, Shango was the third Alaafin of the ancient Yoruba Kingdom of Oyo.
He was the second son of Oranmiyan, the mythical founder of the Empire, and his mother was “Torosi”, a princess from the neighbouring Nupe tribe.
Shango’s Reign in Oyo
After the Reign of Oranmiyan, his first son Ajaka took over the throne as customary in Yoruba tradition. Akaja was a man of peaceful disposition. Unlike his ambitious younger brother, he busied himself with administrative duties and palace affairs.
Being as ambitious as he was, Shango saw his brother’s peace-loving nature as a weakness, and together with the army, he overthrew his brother and took the throne for himself.
Shango’s reign over Oyo lasted only seven years. He ruled the empire with an iron fist and launched several successful expansionist wars into neighbouring cities.
Shango‘s Wives
Shango had three wives: Oya, Oba and Osun. Each of these three women played a unique role in the life of the powerful king.
Oba was Shango’s first wife. She married him before he ascended the throne and is known for her loyalty and dedication to him. She was later deified as the goddess of domesticity and marriage. Early in his life, Oba represented stability in Shango’s household.
As was common for kings in that era, Shango took other wives. His second wife was Osun, a beautiful and charming woman who was also deified as the goddess of rivers, fertility, and beauty.
Oya was Shango’s third and final wife. She is often regarded as Shango’s equal in many aspects, assisting him in battles and possessing her a formidable powers over the wind and Lightning. She later became the Yoruba goddess of storms. Oya’s bond with Shango was probably rooted in their shared strength and passion for war.
Shango’s Obsession.
Shango was obsessed with power, and even after he attained the highest position any man could wish for in Oyo, he wanted more. He began to dabble in secret and forbidden knowledge of the supernatural.
He went on spiritual journeys and eventually discovered the secret of Thunder and Lightning, which was stored in a special stone called “Edun Ara” (Sound of Thunder).
Shango’s acquisition of this stone gave him control over Thunder, Lightning and fire. He became so powerful that he could singlehandedly win battles. However, an element as powerful and unpredictable as thunder can not be truly tamed.
How did Sango Die?
As Shango became more powerful, he became careless and aggressive. It is said that at the peak of his powers, he would spit fire from his mouth when angry.
However, Shango took it too far when he decided to test his powers on a mountain close to his own city. He lost control of the thunder and mistakingly attacked Oyo. Ironically, the thunder landed in his own house and killed everyone inside.
Out of regret and embarrassment, sango committed ritual suicide by hanging himself. When his chiefs found out about his death, they secretly buried his body and announced that the king had ascended to heaven to be with Olodumare.
This is why Shango worshipers call him “Shango Olúkòso“, Meaning “The king did not hang”.
Subsequently, Shango was venerated as the god of thunder and fire, incorporating his “fiery” temper while on earth.
Shango is one of the most popular Orishas of the Yoruba people of southwestern Nigeria. He is also worshiped Cuba as Chango (Santeria) and among the Candomble of Brazil as Xango.
According to Yoruba mythology, Shango was the third Alaafin of the ancient Yoruba Kingdom of Oyo.
He was the second son of Oranmiyan, the mythical founder of the Empire, and his mother was “Torosi”, a princess from the neighbouring Nupe tribe.