Arch of the Flying Tortoise

Originally created in the early 1960s and was completely rebuilt in 2014.
This outstanding work of art was the original entrance on the path to the main Ọ̀ṣun Shrine: Ojúbọ Òṣogbo. The gate was erected by Susanne Wenger together with Adebisi Akanji in the early 1960s to preserve the privacy and peace of the site but also to prevent cars from driving into the groves.

It represents ‘oddly enough – a flying giant tortoise. The tortoise symbolizes the heaviness of matter, and it taking to the air evokes a turning point in one’s rational habits. For here, other laws prevail.’ (The Sacred Groves of Oshogbo, Susanne Wenger, 1990, page 18)
The meaning behind the flying tortoise motif is described by Susanne Wenger as follows: ‘In many cultures the tortoise represents matter - the opaque and heavy aspects of the divine. But nothing can keep its heaviness intact when entering the precincts of Ọ̀ṣun’s influence.’ (A life with the Gods, Susanne Wenger/Gert Chesi, 1983, page 140)
The Arch of the Flying Tortoise marks the point where you enter into another sphere - you step from your everyday life and its problems into the domain of the Òrìṣà, the realm of the deities - the Sacred Groves.
‘Òrìṣà has been and continues to be translated as ‘the gods’ or ‘a god’, because there is no way of translating ‘òrìṣà’ into languages of those people, who have packed away their pre-Christian notions and memories into the spaces of their deepest subconscious, where they feel constrained and are given to making trouble. To make ourselves understood, even in our discussion we must put up with the misleading expression, ‘the gods‘.’ (A life with the Gods, Susanne Wenger/Gert Chesi, 1983, page 63)

Unfortunately, the Arch collapsed completely in the mid 1990s. As was the case with quite a few of the shrines and works of art in the Sacred Groves, at the time of its creation building supplies and financial resources were limited and earth was often used as core which was then covered in layers of cement. Over time and under the impact of the tropical climate, the Arch weakened and eventually crumbled.

In 2014, the Arch was recreated from photographs and memory by New Sacred Art Movement artist Adebisi Akanji and his son, Adebisi Nurudeen.
To preserve it for future generations, high quality cement with strong metal reinforcement rods and netting were used. This new Arch will hopefully last for a long time, requiring only periodic maintenance.
A plaque on an adjoining wall commemorates the role played by the Austrian Government, which funded the restoration work.