Kikelomo Oladepo (2019-09) by CyArkCyArk
The community actively protects Osun Osogbo
The effort to help conserve the Osun Osogbo Sacred Grove and the Busanyin Shrine is a community effort that involves not only local people, religious figures, and artists, but researchers, and cultural heritage conservators as well.
Priestess Osunyemi Efunsola
Priestess Osunyemi Efunsola has been the priestess of the Busanyin Shrine since 1978. The Priestess has worked tirelesely for the restoration of Busanyin.
Listen to the Priestess talk about the Busanyin Shrine
Alajere sculptures (2019-09) by CyArkCyArk
“This environment is like this because you know, they say the forest is full of spirits. Osanyin forest, all the spirits were here from the onset, so these trees you see here are all deities, there are several spirits in them also. Therefore no one must cut any of the trees in this forest. This place is a forest of spirits. That is why you see all these trees still here. And you know, the spirits reside in cool and quiet places all these trees have their unique spirit.” - Priestess Osunyemi Efunsola
Sculpture Osun River (2021-11-11) by CyArkCyArk
“I am not happy because this is the source of Osogbo, it must not be destroyed. I am not happy at all with its state. But our cry for help is that, the museum [will intervene] I go to plead quite often to the King, saying this place is in ruins and they should please help with rehabilitating it because its the source of Osogbo, we can’t afford to lose it. So, the state of things makes me very sad.” - Priestess Osunyemi Efunsola
Dr. Ijeoma Harriet Onyejekwe
Dr. Ijeoma Harriet Onyejekwe is an Assistant Chief Monuments Officer for the National Commission of Museums and Monuments in Enugu Nigeria. Dr. Onyejeekwe has a PhD in Urban and Regional Planning from the Enugu State University of Science and Technology.
Dr. Ijeoma adjusts the total station at Busanyin shrine (2021) by CyArkCyArk
Dr. Ijeoma Harriet Onyejekw“Global warming climate change is a problem... and it's a combination of indigenous knowledge and modern science and integration of the two ... modern science will not work well if they don't integrate the indigenous people's knowledge about the site.”
Rabiu Ajao Abesu
Raibu is an artist and wood carver who has lived near Osun Osogbo and the Busanyin Shrine for over fifty years.
Sculpture near Busanyin Shrine (2021-11-11) by CyArkCyArk
"There has been more rain than in the past. The rain increases by the year." - Rabiu Ajao Abesu
Osun River at Busanyin ShrineCyArk
"Flood started becoming a thing of concern about fifteen years ago. Ever since, the event has considerably fluctuated; nonetheless, there has been more significant downpour year on year the worst being in 2019 when it rose to about six feet high on the reference." - Rabiu Ajao Abesu
Ayeni Imokhai Oisewmime
Ayeni Imokhai Oisewmime is a Conservation Architect and Assistant Chief Heritage Officer for the National Commission of Museums and Monuments in Abuja, Nigeria. Ayeni is in charge of completing the documentation of historic properties in Nigeria.
Child Standing Inside Busanyin Shrine (2021-11-11) by CyArkCyArk
“These sites and monuments represent physical evidences, tangible manifestations of documented history... all that becomes part of history for us.”
Ongoing Conservation Efforts
After the Busanyin Shrine was structurally compromised in 2019 due to heavy flooding caused by climate change, a flooding study and fundraising campaign were made to help with restoration. Ongoing efforts have been made to document and restore the site.
Conservation architect Ayeni completes Laser scanning at Busanyin shrine (2021) by CyArkCyArk
“… Restoring something that has been damaged becomes a bit of a challenge, so this week has been another extension in that process, a condition of that process where we've begun, of course, going back to 2019, when CyArk came with AOT (Adunni Olorisa Trust) for the first meeting, the first documentation. This week we've carried that on, actively documenting the Busanyin shrine particularly to see how it has been affected by flooding to see how parts of the building have collapsed … It becomes easier to do a restoration of the sculptures, the artworks, the building ensemble altogether.”
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