#12 African Gods and Goddesses: The Orisha Pantheon

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12 African Gods and Goddesses: The Orisha Pantheon | History Cooperative

A vast, diverse continent, religion, and mythology across Africa is rich and vibrant. The African gods and goddesses that make up these belief systems are worshipped in many ways by millions of people around the world.

The Yoruba religion, which is today found throughout Southern Nigeria, forms the basis of many religions practiced by members of the African diaspora. These gods and goddesses are some of the more well-known in Africa yet some of the lesser known by people of the the rest of the world.

A detailed list of all the African gods and goddesses would be endless, but these twelve from the Orisha Pantheon are a good place to start.

Table of Contents

Eshu: the Divine Trickster

Ogun: the Master of Iron

Shango: the Bringer of Thunder

Oshun: the Mother of Rivers

Obatala: the King of Peace

Oya, the Goddess of Weather

Obaluaye, the Master of Healing

Yemonja: the Whisper of the Ocean

Orunmila, the Oracle of Wisdom

Oba, the Flow of the River

How Many African Gods are There?

The Concept of a Supreme African God

Olodumare and his Journey Away from Earth

The Capstone of African Mythology

Important themes 

Eshu: the Divine Trickster

Mischief is something that doesn’t go unnoticed in African mythology in general. Trickster gods are present in many cultures around the world. It is something that adds that bit of extra tanginess to a stew of divine righteousness. 

When mischief and trickery can be converted into an orb of power controlled by a celestial spirit, it makes way for a relatively powerful narrative that strikes awe within its believers. 

Eshu, otherwise known as Elegba, is the Trickster of the Orisha Pantheon. He is the benevolent version of Loki in African mythology and a wandering trickster spirit generally concerned with probability and elusiveness. 

By Western interpretation of Eshu, though, he is not seen as this malicious spirit doomed to destroy humanity through psychological trickery. Instead, he has solidified his position as a messenger between the realm of spirits and humankind, not unlike the Greek god Hermes. 

He is not depicted as the devil himself. Still, He is believed to be more than capable of bringing adversity to those that do not take note of his presence. On the other hand, he requires sacrifices of resources such as tobacco to ensure constant appeasement and protection of human spirits

Ogun: the Master of Iron

No settlement can be complete without an armory. An armory provides the means to defend oneself from the dangers of the outside world. This defense was a top priority in a hostile place like West Africa.

And what better tool to carry it out than the trusty old iron?

Being abundant in the region, iron was a vital resource. Hence, the material having a specific personality induced a sense of wonder and natural instinct among those who believed in its smithing magic. 

Ogun is the Giver of Iron in the Orisha Pantheon. Alongside mastering the delivery of this world-building resource, Ogun is also dubbed the Warrior God of War. Wielding weapons of fine craftsmanship, Ogun oversees metalwork and conflicts that arise within the Yoruba people.

However, he refuses to interfere in what individuals choose to do with the weapons he blesses the productions of. The destiny of the weapon is left in the hands of the human who possesses it. This is an ode to Ogun’s double-edged sword, representing two sides of justice.

Being garbed in red, Ogun represents aggression in one narrative. Hence, his being is deeply rooted in the Yoruba people’s psychology. As a result, he stands as one of the crucial Orishas in the pantheon.

Shango: the Bringer of Thunder

Modern people often underestimate the might of a crackling burst of thunder. During ancient times, a slap of thunder signaled the onset of danger, or the gods’ wrath hurtling down from the heavens. 

In the Orisha pantheon, the supreme god meant existence through Olodumare, and the Yoruba storm god Shango was its bane. Filtering the very essence of wrath and fury, he was the bringer of thunder and brimming masculinity.

Sharing a commonplace with other famous gods such as the Greek Zeus and the Norse Thor, his prowess remained dominant with a chaotic sky. Shango directs the destination of thunder and lightning depending on what goes on in the world down below. 

His authoritative use of raw power symbolizes typical masculinity, linking him to a more personal viewpoint for followers of the Orisha pantheon. 

This power is often connected to dances conveying threatening gestures in rituals dedicated to this thunderous deity.

Shango has three wives, Oshun, Oya, and Oba. They are all mentioned within this list. 

Oshun: the Mother of Rivers

The natural world generally flourishes with life. This wouldn’t have been possible without bodies of water snaking through lush, dense forests, bringing much-needed vitality to all who benefit from it. Nearly every culture associates rivers with something benevolent. After all, they are essential natural resources giving way to life thriving within its banks. 

Being the Goddess of Rivers, Oshun is often attributed to being the lifeblood of the Niger River. In fact, her name comes from ‘Orisun,’ which was referred to as being the source of the Niger River. Oshun is also Shango’s favorite wife. 

Oshun’s aquatic finesse over the rivers of West Africa immortalized her spot as one of the most critical Orishas. Her blessings ensure that the water remains clean and fishes remain plenty, giving the people a peek into her somewhat empathetic side. 

This empathy also means that she is associated with fertility and childbirth. She is strikingly similar to Dionysus, the Greek goddess of wine and fertility. Being involved in marine affairs also implies that she is engaged in rejuvenating the human mind, further solidifying her position. In the Americas, Oshun is regarded as the ‘Orisha of Love.’ 

However, one thing is for sure. Whichever way she is depicted, she is always shown to be a motherly being with nothing but divine power at her fingertips.

Obatala: the King of Peace

While many Orishas are imaged through physical manifestations such as lightning or rivers, some are connected to deep human affairs. Peace, honesty, and creativity are just some of them.

Garbed in white, the King of Peace Obatala is a merciful Orisha dispatching purity. He is often noted as being the master behind shaping every child when they are within the womb. 

His symbols include a white dove and, in more modern times, wreaths of olives due to them becoming a universal sign of peace. Obatala practices a more specific approach to humankind, taking deep care of their psychology while enforcing justice within their affairs.

Oya, the Goddess of Weather

Good weather brings peace to mind momentarily. A great, lasting one makes way for a civilization to flourish. Crops may live or die due to changes in the skies above, and stomachs may be quenched for hunger or thirst. Weather is a fundamental aspect of any significant settlement.

Oya is the Orisha of the weather. Defined as an embodiment of wind, she is Shango’s wife and hence the direct caterer of his will. Besides shifting the clouds, Oya is also connected to tending to the dead. The ‘dead’ doesn’t just include a human being; it consists of the natural world in the sense that dead trees would have to fall to make way for newer ones. Her Slavic god counterpart in Slavic mythology would be Stribog. 

So, in reality, Oya really is the goddess of change. Like the weather’s unpredictability, she also commandeers the essence of constantly changing the natural world so it may continue flourishing. Due to this, she also holds domain over psychological qualities such as intuition and clairvoyance. 

Obaluaye, the Master of Healing

The concept of regenerative vitality is crucial to every society. No human being is immune to all diseases; however, when there is a chance to heal, it is always welcomed. This duality of vulnerability to conditions and protection against them makes up the next Orisha.

Obaluaye, also known as Babalú Aye, is the Orisha of healing and miracles within the pantheon. Both revered and feared, Obaluaye is well respected by the followers, and he is said to curse you as quickly as he can heal you. Being connected to places such as hospitals where the borders of life and death are frequently grazed.

Obaluaye is also connected to rituals that promote the cure for illnesses. His healing powers range from epidemics to skin diseases and inflammations. This healing power is said to be catered more toward people closer to death.

Yemonja: the Whisper of the Ocean

The ocean is vast and seldom cruel, and it is impossible to predict what lies beneath deep waves and endless stretches of water. Such is the need for a motherly figure to watch over all the uncertainty of this blue domain.

Yemonja is the Orisha of the ocean. Not only does she hold control over it, but she also radiates the power of compassion and love. Her watch over the seas sustains life as it is and seals her importance as a motherly figure in the pantheon and the entirety of African mythology. 

Speaking of which, Yemonja is the metaphysical mother of all the other gods in the Orisha pantheon. Hence, she is much revered and respected.

Orunmila, the Oracle of Wisdom

The concept of destiny is gazed upon in awe by all those who truly place their faith in it. Destiny is an important notion to believe in because it continually shapes the lifestyle of the individual who lives in its belief.

Orunmila, the Orisha of knowledge, omniscience, and wisdom, is the embodiment of destiny. His purpose might not be material, but it is a psychological one reflected in many African myths. 

Human spirits exist within the mind, and hence, tending to its development is what Orunmila really does. He holds power over knowledge, including information, intuition, and instinct. General African myths deal with confusion by introducing a force that counters it. Orunmila is a prime example of it.

His role also extends to the natural world as he knows everything that takes place within it. 

Oba, the Flow of the River

Orishas, too, have emotions that flow gracefully like the river. Oba, the Orisha of water and manifestation, is no exception to a story that is best linked to jealousy. 

Being the third and the most senior wife of Shango, Oba was one of his consorts. In the pantheon, Oshun was Shango’s favorite wife, which greatly affected Oba. When Oba asked Oshun about what she did to become Shango’s favorite, Oshun simply lied to her (knowing Oba’s children would inherit the kingdom). She said she once cut off her ear, turned it into powder, and sprinkled it into Shango’s food.

Driven by the will to become Shango’s favorite, Oba followed Oshun and sliced off her ear into his food. Naturally, Shango noticed a floating ear in his food and exiled Oba from his abode. 

Oba fell to Earth down below and morphed into the Oba river. Interestingly, the Oba river intersects the Osun river at an explosive speed, symbolizing a long-standing rivalry between two of Shango’s wives.

Oba is linked to rivers, marriage, fertility, and restoration. 

How Many African Gods are There?

The pantheon of Orishas (traditionally followed by the Yoruba people) is a sequence of divine spirits dispatched by the supreme god Olodumare.

Though a specific number can’t be placed on the amount of Orishas, there is an exciting notion around it. It is said that there are 400+1 Orishas, where the ‘ stands as an incomprehensible number that implies infinity. 

There isn’t an exact number, but sometimes it goes up to 700, 900, or even 1440 Orishas. As for the “400+1” concept, the 1 is an incredibly sacred number that tells you that there are countless Orishas, but you will always be one count short if you try to comprehend it.

So you may think about the total as often as you like, but there will always be one more Orisha to consider.

And yes, this does go on forever. 

The Concept of a Supreme African God

In African Mythology, the Yoruba people very well received the notion of an omnipotent sky god looking over all things that live on Earth. In fact, it takes the form of Olodumare, a celestial being that transcends the boundaries of space, time, gender, and dimensions. 

Olodumare is also known as Olorun, which means “the Almighty.” Although his omnipotence strikes a profound sense of existential authority, the Yoruba people do not have any dedicated shrines or places of worship for him. Part of this is due to the belief that Olodumare is so deific; his mere distance from the human world makes him incredibly detached from their daily affairs.

Olodumare and his Journey Away from Earth

The Lord of the Heavens was not always this distant from the planet riddled with human beings. 

It is believed that at one point in time, Olodumare was close to Earth. However, the constant need by human beings for basic things from the sky, such as food, seemed to frustrate him, so he began his journey away from the planet. Since his abode was the skies, he separated them and himself from the Earth and hence controlled the world from a cosmic distance.

It is here where he found the need to create the Orishas. As the emissaries of his power and will, the Orishas were each assigned unique functions, ensuring total order within the planet of Earth. 

The Capstone of African Mythology

Most African traditional religions are extraordinarily diverse and range over countless cultures and practices. The Yoruba religion and its beliefs influence human life in both the African continent and other regions. 

The Yoruba religion can be marked as a capstone of African beliefs due to its wide acceptance. Of all the African religions, this remains one of the few on the rise. In present-day Nigeria, Yoruba mythology has evolved into a faith where its followers address the gods and goddesses in respect to the complex oral traditions passed down from generation to generation.

The Yoruba people refer to this religion as Ìṣẹ̀ṣẹ. The word itself can be broken down into two parts;”’Ìṣẹ̀” means’ origin’ and ìṣe refers to “practice.” Coming together, Ìṣẹ̀ṣẹ literally means “practicing our origin.” As you can see, this is a beautiful way to honor their roots, as most of their traditions and beliefs spring from their deep-rooted faith in the Orisha Pantheon. 

Important themes

A relatively common theme integrated into the Yoruba religion is Animism. Animism refers to the belief that everything (and yes, LITERALLY everything) possesses a spiritual quintessence. Due to this, every object (material or immaterial) is believed to have some sort of sentience. 

As a result, they are all controlled within the domains of the Orishas. Like the gods and goddesses of Ancient Egypt and Rome, there is always a supreme being keeping watch over all. 

Another belief revolves around reincarnation. The belief in reincarnation is linked to ideas from their ancestors. The notion of reincarnation is that deceased family members make their journey back to life as a new baby in the same family they once departed from. 

As a direct result, Yoruba people can sometimes be identified as their departed imprints through visions and likenesses in appearances. To honor this, they are often given names such as “Babatunde,” which means “father returns” or “Yetunde” (mother returns). 

These reincarnated figures are usually there to assist their progeny with everyday life and general faith. Hence, dead ancestors remain as relevant as they can ever be even after death.  

Additional Resources

The Orishas, https://legacy.cs.indiana.edu/~port/teach/205/santeria2.html.  

Dialogue Institute. “Yoruba.” Dialogue Institute, Dialogue Institute, 16 Sept. 2020, https://dialogueinstitute.org/afrocaribbean-and-african-religion-information/2020/9/16/yoruba .

“Home.” Staff – Works –, https://africa.si.edu/collections/objects/4343/staff;jsessionid=D42CDB944133045361825BF627EC3B4C.  

#12 African Gods and Goddesses: The Orisha Pantheon #ATR #African Traditional Religion

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American Gods Season 3: Who Are The Orisha?

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This article contains spoilers for American Gods season 3 episode 4.

American Gods star Yetide Badaki, known to fans of the show as love goddess Bilquis, has an upbringing as unique as any fictional character from Neil Gaiman’s fantasy novel. 

She lived in England for three years, has lived in American since age 12, and went to college in Canada, but Badaki’s roots are planted in the soil of the country of her birth, Nigeria. Nigeria, Africa’s largest country, serves as the centerpiece of the larger tribal community known as Yorubaland along with Benin, Ghana, and Togo. Yorubaland is home to 55 million people and was one of the largest sources of the enslaved people to the United States of America. It’s also home to spirit world entities which are now about to enter into the American Gods’ canon: The Orisha.

Far from being a relic of the past, the Orisha still play an active part in African religion to this day, and it was something that Badaki was keen to see brought to the screen.

“There are quite a few fascinating gods and goddesses that I’d like to see, but my answer would be the Orisha,” Badaki said when asked about possible additions to the American Gods pantheon. “I can’t wait for everybody to meet all of them.”

The Orisha are hinted at in episode 2, when a young Shadow Moon stares at a cover of a magazine touting the beauty of Nigeria, with the face on the cover of the magazine speaking to him. Their proper introduction comes at the beginning of episode 4 “The Unseen,” where slaves break their shackles with the help of the Gods of their old world, with the Orisha promising, among other things, freedom and their strong blessing. Four new members of the pantheon of American Gods are pictured: Chango, Oshun, Yemoja, and Aye. 

In the original Yoruban tales, the Orisha are spirits sent by Olodumare (the source of creation) to guide all creation, with particular emphasis on the guidance of humanity as seen in the cold opening of “The Unseen.” The number of Orisha varies depending on the telling, with the group being either 400, 700, 1440, or more than anyone can think of, plus one more. That extra plus one, always handy on a guest list, ties the number of Orisha to a sacred number in traditional beliefs. 

Orisha straddle the world between the realm of spirits and men, with Orisha being either spirits born into the bodies of humans, or humans who have done such great deeds in life that they become Orisha through the power of their actions. They also serve as intercessors with Oludumare, speaking on behalf of their followers according to their areas of experience.

So just who are these Orisha and what are their particular interests?

The most noteworthy initial appearance is that of Chango, who breaks the chains to free the captive in the fields. Chango, played by Nigerian-American rapper and actor Wale, is the most fearsome and dangerous of the Orisha. An early leader of the Oyo Empire, Chango was a vengeful conqueror whose seven years at the head of the kingdom marked by constant warfare and conquest until his palace was struck by lightning and killed. 

Chango is known as the God of Iron who casts down thunderstones to smite those that displease him with lightning, and stones formed by lightning strikes are sacred to his followers, who span across the African diaspora from traditional Yoruba worship to Santeria and both Haitian and Louisiana variants of voudou/voodoo. Chango, as befitting a warrior, is represented by his two axes, the thunder of both sky and drum, and the color red. He is a renowned ladies’ man (he has three wives, after all) and the Orisha known for his ability to dance and love of a good party. Fittingly, his consecrated worship day is Wednesday, a fact that I am certain will be important later.

Alongside Chango is his queen and wife, Oshun, as played by American singer and actor Herizen F. Guardiola. Alongside Chango, Oshun has been widely adopted across a variety of religions, with an especially strong presence in the Afro-Brazilian religion Candombele, where she is revered as the Lady of Gold and is a patron of wealth and prosperity, with the bright yellow of flowers and the ritual fan called the Abebe being associated with her worship. As queen and wife, she is also known as the protector of pregnant women and children, and a powerful goddess of love. 

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Her name is linked to Nigeria’s Osun river, and in traditional Yoruba beliefs, she is the goddess of fresh water and waterfalls, with her worshippers paying tribute to her at lakes, streams, and canals; as the messenger of the Orisha, she is commonly associated with peacock feathers, having transformed herself to get a message to Oludumare during a great drought. In Cuba, she is celebrated with a type of violin performance known as Violin for Osun, a blend of Western classical music and Cuban popular music; Guardiola’s father is a Cuban reggae musician, making this a fitting pairing.

Yemoja, played by Bridget Ogundipe, is another powerful spirit tied to water and birth, as she is the mother of humanity. When her water broke at the birth of the human race, it created the very waters of the rivers and seas that sustain us. As such, she has a powerful tie to motherhood and is a goddess pertaining to everything related to women, from conception and parenting to love and the “feminine mysteries”. As befitting a good mother, she is very slow to anger, but capable of great destruction as anyone who lives on a flood plane could attest. 

As someone tied to both womanhood and the water (rivers in Yorubaland, the ocean and seas throughout the Caribbean diaspora), she is often depicted as a mermaid, or as a nursing mother. (Her name is a contraction for the Yoruban words that translate ‘mother of fish children’.) Her colors are the colors of clean water, blue and crystal, and her symbols are anything related to the ocean, from shells and fish to anchors. Festivals are held for Yemoja throughout the world, particularly in Cuba, Brazil, and Uruguay, with worshippers traveling for miles to congregate at beaches and shrines and send offerings out to sea for Yemoja in small boats.

Last, but certainly not least, is Aye, played by Karen Glave. Of all of the Orisha, who all go by a variety of names depending on what religious tradition they are a part of; she is the one that is most difficult to track down. Yet, of all the Orisha, perhaps she is the most powerful. Aye is the Yoruban version of Mother Earth. More than simply being the planet on which we all tread, Aye is the force of creation given life. More than just a mother figure, she is a creator figure; a Yoruba saying goes “You have Aye; I have Aye; we all have Aye in our pockets.” 

To attempt to sum up Aye in a single phrase? She is power. Specifically, the power of Black women. Gestating life, creating a work of art, building a town, organizing a revolution? All of these things fall under the purview of Aye, because she is the great creative force without whom the Earth would have never existed; the male Orisha attempted to leave women out of the creation process and failed miserably until Oshun agreed to participate and Aye was born. As such, it is the labor of many working together who tap into Aye’s great power, a collective greater good in which displays of wealth are forbidden and sharing is not encouraged, but required. If you have ever known a kindly older woman who could cure a cold by administering a hot drink and applying salve, you have known one of Aye’s iyalawo (mothers of mysteries).

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When your spirits cross oceans and spread out across thousands of years, dozens of countries, multiple languages, and four continents, having accurate information can be an issue. The information presented above is by no means exhaustive, as the Orisha themselves cover many skills and cross many boundaries depending on the belief system examined. As the Gods changed in their time in America, the Orisha have changed throughout history thanks to the power of syncretism with Roman Catholic saints, Islam, Pentecostalism, Chrislam, and many, many other beliefs.

While I have done my best to explain the powers of the Orisha, no mere mortal would ever be able to limit the power of an Orisha to text on a page.

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