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Eshu: The Yoruba Trickster God and Divine Messenger

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Exploring the cultural and spiritual symbolism of Eshu, the Yoruba deity who bridges heaven and earth

The sculpture in question represents Eshu, also known as Elegba, one of the most complex and revered deities in the Yoruba religion. Eshu occupies a vital role in Yoruba cosmology as both a trickster spirit and a divine messenger, embodying the balance between chaos and order, mischief and wisdom, justice and communication.

Eshu: The Divine Messenger

In Yoruba belief, Eshu serves as the intermediary between humans and the gods (Orishas). No prayer, offering, or ritual can reach the higher deities without passing through him. This role as a cosmic gatekeeper makes Eshu indispensable to the Yoruba spiritual system.

He ensures that divine messages are properly delivered and that sacrifices reach their intended recipients. However, if ignored or disrespected, he can also disrupt communication, causing confusion or misfortune. For this reason, Yoruba devotees always begin their rituals by honouring Eshu first, a practice that underscores his spiritual authority.

A Trickster and Guardian

Eshu’s personality embodies duality—he is both a protector and a provocateur. Known as the trickster god, he uses cleverness and unpredictability to teach lessons about morality, fairness, and human nature. His tricks are never random; they serve to remind people of the consequences of dishonesty, pride, or neglect of spiritual obligations.

Despite his reputation for mischief, Eshu is a benevolent guardian who defends justice and ensures balance between good and evil. He is particularly associated with communication, truth, and reciprocity, symbolising the complex moral fabric of Yoruba philosophy, where opposites coexist in harmony.

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Eshu in Yoruba Art

The Yoruba people of Southwestern Nigeria, primarily in states such as Oyo, Osun, Ogun, and Lagos, have a long-standing artistic tradition where spirituality and aesthetics merge. Sculptures of Eshu are a crucial part of this tradition, often made from wood, metal, or clay, and adorned with symbolic motifs such as cowrie shells, beads, and iron rods.

Eshu sculptures are typically characterised by exaggerated facial features, representing his watchfulness and ability to perceive hidden truths. The dynamic poses and intricate designs reflect his vibrant personality and spiritual energy.

Shrines dedicated to Eshu are often placed at crossroads, home entrances, and marketplaces—spaces where boundaries are crossed and communication occurs. These locations emphasise his role as a deity of transitions, movement, and choices.

Cultural Symbolism and Global Influence

Eshu’s influence extends beyond the Yoruba homeland. Through the transatlantic slave trade, the worship of Eshu spread across the Americas and the Caribbean, where he evolved under various names, such as Eleggua in Cuba’s Santería religion, Legba in Haitian Vodou, and Exu in Brazilian Candomblé.

Despite the different contexts, his essence remains consistent: Eshu is the divine messenger who mediates between the spiritual and physical worlds, ensuring that balance and justice prevail.

His adaptability across cultures demonstrates the resilience of Yoruba spirituality and its ability to evolve without losing its core principles.

Modern Interpretations

Contemporary Yoruba and Nigerian artists continue to reinterpret Eshu’s image through sculpture, painting, and performance. Artists such as Ajibike Ogunyemi of Osogbo—a member of the New Sacred Art movement—draw inspiration from deities like Eshu to merge traditional spirituality with modern creativity.

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Through such artistic expressions, Eshu remains not only a religious figure but also a symbol of cultural identity, resilience, and creative expression.

Moral and Cultural Reflection

Eshu’s story serves as a profound reminder that communication, justice, and wisdom often require embracing both light and shadow. His trickster nature teaches that life’s challenges are tests of character, and true understanding often comes through confusion and correction.

In Yoruba thought, Eshu’s duality symbolises the reality of existence—nothing is purely good or evil, and every action carries consequences. Respecting Eshu means respecting the delicate balance that sustains both the spiritual and physical worlds.

References:

Lawal, Babatunde. The Gelede Spectacle: Art, Gender, and Social Harmony in an African Culture. University of Washington Press, 1996.

Drewal, Henry John. Yoruba Ritual: Performers, Play, Agency. Indiana University Press, 1992.

Smithsonian National Museum of African Art archives on Yoruba sculptures.

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Declare Your Lineage – Royal Family Tells Musician KWAM 1 Over His Interest In Becoming Next Awujale Of Ijebuland

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December 7, 2025

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KWAM 1, in a letter dated December 3, 2025, addressed to the chairman of the Fusengbuwa Ruling House in Agunsebi Quarters, Ijebu-Ode, announced his interest in the stool, describing himself as a “bonafide son” of the ruling house.

The Fusengbuwa ruling house of Ijebu-Ode, next in line to produce the new Awujale of Ijebuland, Ogun State, has instructed Fuji musician Wasiu Ayinde, popularly known as KWAM 1, to confirm his family’s royal lineage to validate his membership in the ruling house.

KWAM 1, in a letter dated December 3, 2025, addressed to the chairman of the Fusengbuwa Ruling House in Agunsebi Quarters, Ijebu-Ode, announced his interest in the stool, describing himself as a “bonafide son” of the ruling house.

KWAM 1 also stated that his candidacy aligns with Ijebu customary law and the Ogun State Chieftaincy Laws.

In an interview with Punch, the Chairman of the ruling house and former National President of the Institute of Chartered Accountants of Nigeria, Abdulateef Owoyemi, said only bonafide members of the family would be allowed to participate in the selection process.

Owoyemi explained that KWAM 1, Olori Omooba of Ijebu land and others interested in the stool have been directed to complete the Fusengbuwa ruling house royal lineage data form.

According to him, the form, which requires contenders to trace their genealogy back seven generations, ensures that only genuine princes from the family can participate, thereby blocking “strangers” from claiming the throne.

He said, “The first step for anyone interested in contesting for the Awujale throne is to declare their lineage by filling the standard Fusengbuwa ruling house royal lineage data form. Once confirmed as a legitimate member of the ruling house, they can then apply for the expression of interest form.

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“We have told him, just like everyone else interested in the Awujale throne, that the first step is to declare his lineage. He will do this by completing the royal lineage data form, showing his full name, which parent and grandparent he descends from, and continuing up to seven generations.

“The completed form will be signed and submitted to the head of the ruling house unit of the Fusengbuwa ruling house, who will affirm that he is a genuine member. Only then will the process move forward.”

Owoyemi emphasised that although the application window for the throne officially closed on December 5, KWAM 1 had been given a five-day extension, which would lapse on December 10.

He noted, “We won’t shut anybody out of picking the next Awujale, but we must ensure that you are a legitimate member of Fusengbuwa. Every right comes with responsibilities. For a royal family, everyone must prove their legitimacy by completing the royal lineage data form.

“When we receive the form, we will review it meticulously. If clarification is needed, we will contact the applicant. We welcome men of influence who will use their influence to enhance the throne, not to claim it, ensuring that what truly belongs to our family is preserved.”

Owoyemi explained that the local government has given them 14 days to select candidates, and the ruling house hopes to have a new Awujale by the second or third week of January 2026.

He added, “The local government has given us 14 days to select candidates, which expires on December 18. After that, the kingmakers have seven days to deliberate and choose one candidate, whose name will be forwarded to the governor.

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“Legally, the government then has 21 days to conduct background checks and security clearance, allowing for objections or protests. After this period, the State Executive Council will ratify the nominee, and the governor will announce the next Awujale, after which coronation rites will commence.

“So, combining the candidate selection, kingmakers’ deliberation, and legal objection period, we are looking at around 42 days. Therefore, we expect the next Awujale to emerge between the second and third week of January.”

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VIDEO: I’m Married But Not In My Husband’s House; I Didn’t Have The Experience Of Living Happily Ever After – Singer Shola Allyson Reveals

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December 7, 2025

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While speaking about her love life, the 54-year-old who came into limelight with a love album ‘Eji Owuro’, revealed that she is married but not living with her husband.

Sola Allyson, the popular Nigerian gospel singer, has revealed that she is not currently living with her husband.

The musician made this known in her latest interview on Oyinmomo TV.

While speaking about her love life, the 54-year-old who came into limelight with a love album ‘Eji Owuro’, revealed that she is married but not living with her husband.

Sharing her marital experience, the singer said she has never enjoyed the kind of happiness many people describe.

“I’m married, but I’m not in my husband’s house. We live separately. He in his house and I in mine.”

The interviewer asked: “You sang ‘Eji Owuro’, did you experience genuine love from your husband?

She replied, “We lied before. Those older than us didn’t inform us that it’s tough. They made us believe that so long as you both love each other, you will live happily ever after, but it’s a lie.

“That’s not the experience I have. I didn’t have the experience of living happily ever after. I did all I could to make it work.

“Marriage has been a big challenge. I hear people talk about joy in marriage, but I have never experienced it.”

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VIDEO: Shola Allyson Finally Opens Up, Reveals Why She Does Not Reference Jesus In Her Songs

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December 7, 2025

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Recall that Allyson, who is regarded as a gospel singer, was dragged on social media in March 2025 for not directly referencing ‘Jesus’ in all her songs.

Shola Allyson, the renowned Nigerian songstress, has opened up on the real reason she avoids mentioning the name of Jesus in all her songs.

Recall that Allyson, who is regarded as a gospel singer, was dragged on social media in March 2025 for not directly referencing ‘Jesus’ in all her songs.

Reacting to her critics in a post on X, the songstress stated that “No one can bully me into joining their darkness that looks like light because indolent souls find comfort in it”.

Finally revealing her reason for not mentioning Jesus in her songs, Shola Allyson on Saturday during her latest interview on Oyinmomo TV, stated that Jesus did not ask her to do PR for him.

She said “I’m not a religious singer. As I am, I have never introduced myself as a gospel singer. My name is Shola Allyson. I’m a singer”.

Interviewer; “Some people said you don’t mention ‘Jesus’ name’ in all your songs”.

She quickly responded “Jesus did not instruct us to mention his name in songs nor did Jesus ask us to do PR for Him”.

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