493:
587:
ancestral elevation and funerary rites are assigned to invoke and bring out the ancestors. They wear elaborate costumes as masquerades. Through drumming and dance, the
Egungun robed performers are believed to become possessed by the spirits of the ancestors, as manifested as a single entity. The Egungun spiritually cleans the community; through the dramatic acting and miming of the robed priests, they demonstrate both ethical and amoral behavior that have occurred since their last visit. In this way, they expose the strengths and weaknesses of the community to encourage behavior more befitting of their descendants. When this performance is completed, the performers as Egungun give messages, warnings and blessings to the assembled spectators.
559:
type over another and changes these during performance; and the variety of criteria used to classify
Egungun as well as the range of variations within type of categories. Such factors demonstrate the complexity of the analysis of indigenous taxonomies and the classification of masquerade types. These same difficulties arise in the definition and use of the term Egungun itself. However, from cultural affinities, especially in the Yoruba land, Southwest, Nigeria, the following egungun names can be identified: Danafojura and Awodagbese in Ogbomoso, Alapansanpa in Ibadan, and Feleru in Ibobu, Osun State.
626:
540:
580:
42:
548:
668:), providing protection against enemies at a time when the transformed person is vulnerable. The main protective amulets, however, are on the inside of the costume, not the outside. Metallic objects are also sewn onto the garment. These catch the light as the wearer moves, creating flashes that suggest connection to the spirit world, orun.
700:, which is celebrated annually and has been passed successively down to generations. "The ensuing festival goes on for several days and strengthens the bonds that unite families and communities with departed ancestors." It is believed to help develop trade and commerce and generally bond the people of
679:
The
Egungun ensemble acts as the medium for the masker's transformation into his ancestors. An Egungun society is composed of men and women whose lineages have the right to present the masquerade. Men do the masking. Women never wear the costume, although they participate in the chorus that sings the
647:
On top of this base are placed the layers of lappets. As the masker whirls, the lappets are sent flying, creating a "breeze of blessing." The design of the costume is therefore closely related to the choreography of the performance. Henry Drewal hypothesizes that the breeze of blessing created by the
586:
In family situations, a family elder known either formally or informally as "Alagba" presides over ancestral rites. He may or may not be initiated into the local
Egungun society. In matters that deal with whole communities, Egungun priests and initiates who are trained in ancestral communication,
644:, the indigo and white strip-cloth (Fig. 6). It closely resembles the shroud in which the dead are wrapped. This sack, along with the netting for the face and hands, must completely seal the masker's body. The netting effectively disguises facial and hand features that might disclose his identity.
571:
religion, the annual ceremonies in honor of the dead serve as a means of assuring their ancestors a place among the living. They believe the ancestors have the responsibility to compel the living to uphold the ethical standards of the past generations of their clan, town or family. The
Egungun are
713:
Egungun masquerades are male-dominated within the performance aspect and only males are allowed to connect with the spirits in
Egungun by transforming into the masked figure. Women are prevalent in creating the materials, dramatizing the performance, singing, dancing and watching. Elders say that
558:
The difficulties include: the problem of distinguishing between personal Egun names and generic terms for types; the problem of determining "sets" where one masquerade may be regarded as several type of categories simultaneously; the practice of "layering," in which a masquerade wears one costume
636:
Cloth plays an important role in the world of the Yoruba. Their beliefs equate nakedness with infancy, insanity, or the lack of social responsibility. More elaborate dress reflects social power and prestige. In performances honoring ancestors, exquisite cloth is the major medium for the masker's
675:
An ensemble is repaired and refurbished for use year after year, with layers of new lappets and amulets added to express remembrance and honour. Through divination, however, an ancestor might request a new costume altogether. The owner and the patron, the priest of divination, the tailor, the
684:
and histories of the families. Elder women of high title also perform invocations, prayers, and offerings. At annual festivals, each of the numerous lineages is given a separate day to perform. The masker is kept at a distance from the surrounding crowd with the help of attendants dressed in
526:
and has the same meaning. There is a misconception that Egun or Eegun (eégún with Yorùbá tone marks) is the singular form, or that it represents the ancestors while egúngún is the masquerade or the plural form. This misconception is common in the
Americas by Orisa devotees that do not speak
676:
herbalist who prepares the packets of medicines, and the entire lineage collaborate in creating the ensemble. Depending upon its wealth, a family may own several types of
Egungun costumes, which may represent specific or collective ancestors of the lineage.
704:
together regardless of their religious beliefs. Members of the society dance to marketplaces, wearing their masks to represent the deceased spirits of their ancestors, the spirit to be worshipped is solely decided by Ifa Oracle.
671:
The multiple hidden and visible layers of fabric used to create an
Egungun costume signify the sacred and the worldly, respectively. The layers, used in combination, suggest the reunion of the departed and the living.
637:
transformation. An
Egungun costume is composed of multiple layers of cloth lappets made from expensive and prestigious textiles, expressing the wealth and status of a family as well as the power of the ancestor.
663:
To make the costume beautiful, and thus powerful, the lappets are decorated with patchwork patterns, braids, sequins, tassels, and amulets. The amulets hold medicinal preparations which have performative power
721:, women were once in control of Egungun. The ritual originates from women's religious experience in Yoruba. It is also argued that women were the sustainers of Egungun and according to the
531:
language as a vernacular. Egungun is a visible manifestation of the spirits of departed ancestors who periodically revisit the human community for remembrance, celebration, and blessings.
555:
The classification of Egun or Egungun types, might appear to be a fairly straightforward task, but in fact it is extremely complex deciphering the comprehension of indigenous taxonomies.
472:
768:
Pro-wisest Daniel. "Untitled post." Facebook, 5 Mar. 2021, www.facebook.com/ groups/902090743956279/posts/902142383951115/. Accessed 26 Nov. 2021.
640:
The composition of an Egungun ensemble has several distinctive features. The layer worn closest to the masker's skin, the under sack, must be made of
479:
1066:
902:
934:
Fitzgerald, Mary Ann; Henry J. Drewal; Moyo Okediji (Spring 1995). "Transformation through Cloth: An Egungun Costume of the Yoruba".
1503:
497:
685:
masquerade costumes of different types. After all the Egungun have danced, the ensembles are stored until the next performance.
1488:
1131:
492:
1099:
338:
1493:
799:
660:
and the god of thunder. Oya is the whirlwind, considered a wind of blessing, that precedes Shango, the storm.
465:
1024:
Olajubu, Oyeronke (2004). "Seeing through a Woman's Eye: Yoruba Religious Tradition and Gender Relations".
1124:
860:
747:. Yoruba Egungun: Its association with ancestors and the typology of Yoruba masquerades by its costume
41:
728:
of the Ifa corpus, they were tricked by men and their powers over the Egungun cult were taken away.
23:
1498:
290:
1365:
1209:
625:
515:
185:
50:
910:
1117:
1186:
243:
233:
8:
590:
Important Egungun include the Oloolu and Alapansanpa, both of Ibadanland. Elewe of the
514:
masquerade or masked, costumed figure. More specifically, it is a Yoruba masquerade for
1033:
951:
841:
305:
1355:
1329:
348:
1104:
943:
875:
833:
781:
1410:
879:
539:
310:
1405:
1360:
1350:
1334:
1319:
1140:
1087:
985:
630:
390:
378:
105:
31:
1077:
1467:
1167:
759:[Rowlands, E.C. (1973-01-01) "Yoruba (Teach Yourself Books", chapter 7, page 39
511:
452:
372:
315:
67:
1109:
970:
1482:
1244:
697:
579:
568:
320:
90:
1431:
1224:
1219:
1214:
1058:
681:
665:
253:
190:
175:
150:
145:
903:"Egungun Masquerade Costume · Michael C. Carlos Museum Collections Online"
617:. Houses of worship dedicated to the Egungun also exist in other states.
344:
1462:
1436:
1264:
1229:
419:
223:
180:
170:
165:
1324:
1037:
366:
1441:
1284:
1279:
1269:
1249:
955:
845:
824:
Drewal, H.T. (April 1978). "The Arts of Egungun among Yoruba Peoples".
701:
657:
528:
424:
205:
1385:
1289:
1162:
933:
610:
360:
354:
276:
258:
1082:
947:
837:
522:
is the reduced form (abbreviation through assimilation) of the word
1395:
861:"Social Status, Wealth and Individual Differences among the Yoruba"
591:
496:
An egungun masquerade dance garment in the permanent collection of
414:
300:
281:
228:
155:
1457:
1400:
1259:
1254:
1199:
1062:
1054:
641:
599:
447:
442:
384:
285:
195:
160:
130:
971:"Tradition meets commerce as Ibadan celebrates Egungun festival"
1375:
1370:
1274:
1239:
1234:
1194:
1182:
714:
separation is necessary because of the dangers of women power.
653:
606:
547:
238:
200:
140:
115:
110:
85:
80:
1380:
602:, Ìlá Òràngún, and Arandun, is also of particular prominence.
510:
with Yorùbá language tone marks) in the broadest sense is any
248:
1294:
1172:
1000:
614:
125:
95:
71:
1065:, this being video footage that was filmed in August, 1999:
1299:
1204:
986:"Nigeria's Egungun festival: Colour, culture and community"
595:
135:
120:
100:
1426:
1002:
The Role of Women in Egungun Masquerades - Hist 282 - f11
718:
649:
609:, the main cult of the Egungun is found on the island of
409:
62:
543:'Egunguns' are said to represent the dead in the society
1053:
An Egungun masquerade performance at the palace of HRM
576:, and in family ritual through the masquerade custom.
518:, or the ancestors themselves as a collective force.
800:"Significance of Egungun in Yoruba Cultural History"
804:The Guardian Nigeria News - Nigeria and World News
534:
1480:
782:"Egungun Masquerade Dance Costume: Ekuu Egungun"
1139:
1088:https://www.bbc.com/news/world-africa-41026019
1125:
1078:http://www.sacred-texts.com/afr/yor/yor07.htm
696:is a festival that is celebrated amongst the
473:
929:
927:
776:
774:
968:
1132:
1118:
708:
480:
466:
924:
771:
749:. Ibadan, Nigeria: University of Ibadan.
744:
624:
578:
546:
538:
491:
1026:Journal of Feminist Studies in Religion
1023:
738:
1481:
1019:
1017:
998:
858:
823:
1113:
852:
817:
562:
498:The Children's Museum of Indianapolis
983:
897:
895:
893:
891:
889:
620:
1014:
999:Willis, John Thabiti (2011-11-15),
907:carlos.digitalscholarship.emory.edu
629:Egungun Costume (mid-20th century)
13:
598:, which is common in the towns of
572:celebrated in festivals, known as
14:
1515:
1071:
1048:
886:
339:African Theological Archministry
40:
1504:Masquerade ceremonies in Africa
992:
977:
962:
535:Classification of Egungun types
16:Yoruba masquerade custom figure
792:
762:
753:
1:
1489:Traditional African religions
880:10.1525/aa.1951.53.4.02a00040
731:
656:, the deified fourth king of
7:
1083:Iwi Egungun Oludare Olajubu
688:
648:Egungun may also relate to
10:
1520:
1067:Egungun Energized to Dance
1450:
1419:
1343:
1312:
1181:
1155:
1148:
1100:Alapini Mestre Didi Asipa
969:Ogundare Yejide, Gbenga.
1313:Countries of development
868:American Anthropologist
745:Adepegba, C.O. (1984).
709:Women's role in Egungun
291:Cowrie-shell divination
1494:Afro-American religion
633:
583:
552:
551:Costumed voudou figure
544:
500:
1156:Supreme Creator (God)
859:Bascom, W.R. (1951).
628:
582:
550:
542:
495:
1105:Egungun no Candomblé
984:Akinyemi, Joshua.
832:(3): 18–19+97–98.
634:
613:, in the State of
584:
563:Role of the family
553:
545:
516:ancestor reverence
501:
68:Ọlọrun / Olodumare
1476:
1475:
1451:Legendary figures
1308:
1307:
786:www.africa.si.edu
717:According to the
621:Egungun ensembles
490:
489:
434:Legendary figures
1511:
1153:
1152:
1134:
1127:
1120:
1111:
1110:
1042:
1041:
1021:
1012:
1011:
1010:
1009:
996:
990:
989:
981:
975:
974:
966:
960:
959:
931:
922:
921:
919:
918:
909:. Archived from
899:
884:
883:
865:
856:
850:
849:
821:
815:
814:
812:
811:
796:
790:
789:
778:
769:
766:
760:
757:
751:
750:
742:
694:Egungun Festival
482:
475:
468:
44:
34:
19:
18:
1519:
1518:
1514:
1513:
1512:
1510:
1509:
1508:
1479:
1478:
1477:
1472:
1446:
1415:
1339:
1304:
1177:
1144:
1141:Yoruba religion
1138:
1074:
1051:
1046:
1045:
1022:
1015:
1007:
1005:
997:
993:
982:
978:
967:
963:
948:10.2307/3337226
932:
925:
916:
914:
901:
900:
887:
863:
857:
853:
838:10.2307/3335409
822:
818:
809:
807:
798:
797:
793:
780:
779:
772:
767:
763:
758:
754:
743:
739:
734:
711:
691:
631:Brooklyn Museum
623:
600:Òkè-Ìlá Òràngún
565:
537:
486:
457:
429:
396:
391:Yoruba religion
379:Trinidad Orisha
341:(United States)
325:
263:
210:
74:
33:Yoruba religion
32:
17:
12:
11:
5:
1517:
1507:
1506:
1501:
1499:Yoruba culture
1496:
1491:
1474:
1473:
1471:
1470:
1468:Moremi Ajasoro
1465:
1460:
1454:
1452:
1448:
1447:
1445:
1444:
1439:
1434:
1429:
1423:
1421:
1417:
1416:
1414:
1413:
1408:
1403:
1398:
1393:
1388:
1383:
1378:
1373:
1368:
1363:
1358:
1353:
1347:
1345:
1341:
1340:
1338:
1337:
1332:
1327:
1322:
1316:
1314:
1310:
1309:
1306:
1305:
1303:
1302:
1297:
1292:
1287:
1282:
1277:
1272:
1267:
1262:
1257:
1252:
1247:
1242:
1237:
1232:
1227:
1222:
1217:
1212:
1207:
1202:
1197:
1191:
1189:
1179:
1178:
1176:
1175:
1170:
1165:
1159:
1157:
1150:
1146:
1145:
1137:
1136:
1129:
1122:
1114:
1108:
1107:
1102:
1091:
1090:
1085:
1080:
1073:
1072:External links
1070:
1050:
1049:Film and video
1047:
1044:
1043:
1013:
991:
976:
961:
923:
885:
874:(4): 490–505.
851:
816:
791:
770:
761:
752:
736:
735:
733:
730:
710:
707:
690:
687:
652:, the wife of
622:
619:
564:
561:
536:
533:
488:
487:
485:
484:
477:
470:
462:
459:
458:
456:
455:
453:Moremi Ajasoro
450:
445:
439:
436:
435:
431:
430:
428:
427:
422:
417:
412:
406:
403:
402:
398:
397:
395:
394:
388:
382:
376:
373:Tambor de Mina
370:
364:
358:
352:
342:
335:
332:
331:
327:
326:
324:
323:
318:
316:Obi divination
313:
308:
303:
298:
293:
288:
279:
273:
270:
269:
265:
264:
262:
261:
256:
251:
246:
241:
236:
231:
226:
220:
217:
216:
212:
211:
209:
208:
203:
198:
193:
188:
183:
178:
173:
168:
163:
158:
153:
148:
143:
138:
133:
128:
123:
118:
113:
108:
103:
98:
93:
88:
76:
75:
58:
55:
54:
46:
45:
37:
36:
28:
27:
15:
9:
6:
4:
3:
2:
1516:
1505:
1502:
1500:
1497:
1495:
1492:
1490:
1487:
1486:
1484:
1469:
1466:
1464:
1461:
1459:
1456:
1455:
1453:
1449:
1443:
1440:
1438:
1435:
1433:
1430:
1428:
1425:
1424:
1422:
1418:
1412:
1411:Letra del año
1409:
1407:
1404:
1402:
1399:
1397:
1394:
1392:
1389:
1387:
1384:
1382:
1379:
1377:
1374:
1372:
1369:
1367:
1364:
1362:
1359:
1357:
1354:
1352:
1349:
1348:
1346:
1342:
1336:
1333:
1331:
1328:
1326:
1323:
1321:
1318:
1317:
1315:
1311:
1301:
1298:
1296:
1293:
1291:
1288:
1286:
1283:
1281:
1278:
1276:
1273:
1271:
1268:
1266:
1263:
1261:
1258:
1256:
1253:
1251:
1248:
1246:
1243:
1241:
1238:
1236:
1233:
1231:
1228:
1226:
1223:
1221:
1218:
1216:
1213:
1211:
1208:
1206:
1203:
1201:
1198:
1196:
1193:
1192:
1190:
1188:
1184:
1180:
1174:
1171:
1169:
1166:
1164:
1161:
1160:
1158:
1154:
1151:
1147:
1142:
1135:
1130:
1128:
1123:
1121:
1116:
1115:
1112:
1106:
1103:
1101:
1098:
1097:
1096:
1095:
1089:
1086:
1084:
1081:
1079:
1076:
1075:
1069:
1068:
1064:
1061:, Oyo State,
1060:
1056:
1039:
1035:
1031:
1027:
1020:
1018:
1004:
1003:
995:
987:
980:
972:
965:
957:
953:
949:
945:
941:
937:
930:
928:
913:on 2020-03-23
912:
908:
904:
898:
896:
894:
892:
890:
881:
877:
873:
869:
862:
855:
847:
843:
839:
835:
831:
827:
820:
805:
801:
795:
787:
783:
777:
775:
765:
756:
748:
741:
737:
729:
727:
724:
723:Odu Irantegbe
720:
715:
706:
703:
699:
698:Yoruba people
695:
686:
683:
677:
673:
669:
667:
661:
659:
655:
651:
645:
643:
638:
632:
627:
618:
616:
612:
608:
603:
601:
597:
593:
588:
581:
577:
575:
570:
560:
556:
549:
541:
532:
530:
525:
521:
517:
513:
509:
505:
499:
494:
483:
478:
476:
471:
469:
464:
463:
461:
460:
454:
451:
449:
446:
444:
441:
440:
438:
437:
433:
432:
426:
423:
421:
418:
416:
413:
411:
408:
407:
405:
404:
400:
399:
392:
389:
386:
383:
380:
377:
374:
371:
368:
365:
362:
359:
357:(Saint Lucia)
356:
353:
350:
346:
343:
340:
337:
336:
334:
333:
329:
328:
322:
321:Osanyin staff
319:
317:
314:
312:
311:Letra del año
309:
307:
304:
302:
299:
297:
294:
292:
289:
287:
283:
280:
278:
275:
274:
272:
271:
267:
266:
260:
257:
255:
252:
250:
247:
245:
242:
240:
237:
235:
232:
230:
227:
225:
222:
221:
219:
218:
214:
213:
207:
204:
202:
199:
197:
194:
192:
189:
187:
184:
182:
179:
177:
174:
172:
169:
167:
164:
162:
159:
157:
154:
152:
149:
147:
144:
142:
139:
137:
134:
132:
129:
127:
124:
122:
119:
117:
114:
112:
109:
107:
104:
102:
99:
97:
94:
92:
89:
87:
83:
82:
78:
77:
73:
69:
65:
64:
60:
59:
57:
56:
53:
52:
48:
47:
43:
39:
38:
35:
30:
29:
25:
21:
20:
1420:Sacred sites
1390:
1093:
1092:
1052:
1032:(1): 41–60.
1029:
1025:
1006:, retrieved
1001:
994:
979:
964:
942:(2): 54–57.
939:
936:African Arts
935:
915:. Retrieved
911:the original
906:
871:
867:
854:
829:
826:African Arts
825:
819:
808:. Retrieved
806:. 2020-02-09
803:
794:
785:
764:
755:
746:
740:
725:
722:
716:
712:
693:
692:
682:praise poems
678:
674:
670:
662:
646:
639:
635:
604:
589:
585:
574:Odun Egungun
573:
566:
557:
554:
523:
519:
507:
503:
502:
401:Sacred sites
295:
79:
61:
49:
1437:Osun-Osogbo
1143:(Orisa-Ifá)
1094:Portuguese
420:Osun-Osogbo
1483:Categories
1442:Yorubaland
1280:Orisha Oko
1270:Babalu Aye
1055:The Alafin
1008:2018-10-22
917:2018-10-02
810:2021-07-31
732:References
719:Ifa corpus
702:Yorubaland
425:Yorubaland
381:(Trinidad)
106:Babalú-Ayé
81:The Orisha
1386:Iyami Aje
1290:Oshunmare
1163:Olodumare
611:Itaparica
393:(Nigeria)
361:Quimbanda
345:Candomblé
277:Ajere Ifa
268:Practices
234:Cosmology
1406:Calendar
1396:Babalawo
1351:Medicine
1335:Trinidad
1225:Ọrunmila
1187:Irunmole
1038:25002489
689:Festival
592:Ìgbómìnà
387:(Brazil)
375:(Brazil)
367:Santería
363:(Brazil)
351:(Brazil)
330:Variants
301:Epa mask
282:Babalawo
244:Irunmọlẹ
229:Ayagunna
176:Ọrunmila
156:Oshumare
24:a series
22:Part of
1463:Ọranyan
1458:Oduduwa
1427:Ile Ife
1401:Iyalawo
1391:Egungun
1320:Nigeria
1265:Ọsanyin
1230:Ọbatala
1183:Orishas
1149:Spirits
1063:Nigeria
956:3337226
846:3335409
726:chapter
642:Aso-Oke
594:Yoruba
567:In the
524:egúngún
508:egúngún
504:Egungun
448:Oranyan
443:Oduduwa
410:Ile Ife
385:Umbanda
296:Egungun
286:Iyalawo
215:Beliefs
181:Ọsanyin
171:Ọranyan
166:Ọbatala
131:Oduduwa
51:Deities
1376:Gelede
1371:Ogboni
1344:Topics
1330:Brazil
1285:Erinlẹ
1275:Olokun
1250:Yemọja
1240:Aganju
1235:Shango
1210:Ọṣọọsi
1195:Elegua
1168:Ọlọrun
1036:
954:
844:
680:oriki
654:Shango
607:Brazil
569:Yoruba
529:Yorùbá
512:Yoruba
369:(Cuba)
306:Gẹlẹdẹ
239:Egbere
206:Yemọja
201:Shango
186:Ọṣọọsi
141:Olokun
116:Erinle
111:Elegua
86:Aganju
72:Olofin
1356:Music
1295:Ibeji
1245:Agemo
1173:Olofi
1034:JSTOR
952:JSTOR
864:(PDF)
842:JSTOR
615:Bahia
520:Eégún
259:Oriṣa
126:Ibeji
96:Ajaka
91:Agemo
1361:Itan
1325:Cuba
1300:Yewa
1215:Ọṣun
1205:Ogun
596:clan
355:Kélé
349:Ketu
191:Ọṣun
136:Ogun
121:Eshu
101:Ayao
1432:Oyo
1381:Ifá
1366:Art
1260:Ọba
1255:Ọya
1220:Ori
1200:Eṣu
1059:Oyo
944:doi
876:doi
834:doi
666:ase
658:Oyo
650:Oya
605:In
506:, (
415:Oyo
254:Ori
249:Ifá
224:Aṣẹ
196:Ọya
161:Ọba
151:Oko
146:Ori
63:God
1485::
1057:,
1030:20
1028:.
1016:^
950:.
940:28
938:.
926:^
905:.
888:^
872:53
870:.
866:.
840:.
830:11
828:.
802:.
784:.
773:^
347:,
84::
70:/
66::
26:on
1185:/
1133:e
1126:t
1119:v
1040:.
988:.
973:.
958:.
946::
920:.
882:.
878::
848:.
836::
813:.
788:.
664:(
481:e
474:t
467:v
284:/
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
