Culture

Iyamode of Oyo: the only person Alaafin is allowed to kneel before

Published

4 years ago

February 28, 2023

In the Yoruba empire, every human being is expected to kneel or prostrate when conversing or greeting the Alaafin (or even any king in Yorubaland). This, according to the Yoruba culture, is a sign of respect to the king, his forefathers, and his crown.

The Alaafin of Oyo is regarded as the supreme head of the Yoruba people, although there have been controversies about the eldest between the Ooni of Ife (who is seen as the leader of the Yoruba descendants) and the Alaafin of Oyo

(who is regarded as the leader of the strongest descendants, known as Oyo, of the Yoruba empire). However, for this piece, Alaafin of Oyo has the power and authority to decide and control the affairs of the traditional administration of the people.

For this reason, no matter the age of the Alaafin (young or old), every human being must kneel or prostrate to him as a sign of paying homage or allegiance to his descendants and his crown. Also, under no circumstances should the Alaafin bow or kneel to greet any human being.

However, in the history of the Yoruba race, a particular woman (which is also a position) in the clan is the most senior and respected priestess. According to history, anyone who becomes the Iyamode must be respected by everyone, even the king.

Who is Iyamode?

According to the Yoruba Kingship rules, the only person in the world to whom the Aláàfin may bow before is Iyamode. This is because she is the senior priestess and the most powerful in the hierarchy of other priestesses.

Iyamode lives outside the palace and she is the leader of the Bara celibates, known as the royal mausoleum. According to the tradition of the Oyo people, once a woman attains Iyamode, she is said to enter a lifelong state of celibacy and she must abstain from sexual activities.

Thus, because of this, she is respected for her celibacy, and within the royal court of the Aláàfin, she is regarded as one of the most senior priestesses (because to people, it is almost impossible for a woman to be celibate throughout her lifetime).

This is why the Alaafin kneels before no one else, except the Iyamode.

Iyamode holds a position of such great esteem that the king refers to her as “Baba” (father). Therefore, whenever the Aláàfin bows before this powerful woman, she always returns the gesture by doing the same, but the rule is that she must never recline on her elbows because this is how women traditionally bow to their superiors.

Credit: @Temioluwa Oyeniyi

Photo Credits: Google

Related Topics:kingship Oyo Alaafin yoruba yoruba race

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Culture

OLOJO….Ile Ife’s September Gift To Culture

Published

2 weeks ago

October 5, 2026

Mariam Balogun

By Halima Adaba,

It was a featubal if the people. It was for the anciebt town of Ile Ife, which the Yoruba race refards as the Source.

Also read: Olojo Festival 2026: Ooni Urges Leaders to Prioritise Citizens

And ut was a festivsl for the King, Arole Oduduwa, Oonirisa, Adeyeye Enitan Ogunwusi, Ojaja II.

And so between September 24 and 28th 2026, the annual featuval dazzjed in all its white glory.

Tge Monarch paid the traditional ancestral homage and offered propitiation as part of the sacred rites of the Olojo Festival.
It was a powerful expression of Yoruba heritage, spirituality, and enduring tradition.

Call it a collection of beautiful moments, faces, colours and cultural expressions.

Every frame tells a story.

Every face carries the energy.

Every moment keeps the heritage alive.

Undoubtedly one of the most sacred cultural celebrations in Ilé-Ifẹ̀. It marked a day associated with creation, thanksgiving, ancestral heritage, and the sacred appearance of the Ooni of Ife wearing the revered Aàrẹ crown.

There were also the devotees of the famed god of thunder – Sàngó who were hardly conspicuous at the festival.

Many other traditional groups came out with candor, showing a powerful expression of Yoruba cultural identity, spiritual devotion, and respect for the ancient traditions of Ilé-Ifẹ̀.

Devotees of Sàngó bekieved the ‘appearance’ of the god of thunder on Seotember 26th could be understood as a symbolic meeting of ancestral heritage, spiritual devotion, and the celebration of creation.

It was a moment when the sounds of drums, chants, and traditional praise poetry brought the history of the Yoruba people to life.

Although Olojo is closely associated with Ogun, the god of iron, and the sacred traditions of Ile-Ife, the presence of Sàngó devotees reflected the rich diversity of Yoruba spiritual heritage.

Also read: Olojo Festival 2026: Ooni Urges Leaders to Prioritise Citizens

As a participant enthused at the festival, “To witness Sàngó Olúkòso emerge on Olojo Festival day is to witness a living expression of history, identity, and ancestral pride.”

Culture

WAKE UP! Art Exhibition Returns for a Second Act

Published

2 months ago

August 27, 2026

Mariam Balogun

The contemporary art and photography exhibition “Wake Up!” is back again for a second edition.

Curated by Awele Onwordi, Wake Up! 2 exhibition pays homage to the Nigerian youth and burgeoning street culture which many of its contributing artists reference in their works.

Also read: Five rising stars battle for 2026 Headies Next Rated

Titled “Young, Wild, Free”, the exhibition celebrates the creativity, resilience, freedom and cultural influence found in Nigerian youth.

Taking aim at societal issues and economic concerns, the exhibit reflects the youth and their refusal to compromise or bow despite all the challenges stacked against them while charting youth culture through art, music, fashion, skateboarding, photography and community.

The exhibition will be held, once again, at the Angel and Muse Gallery at 25 Sumbo Jibowu street off Ribadu Road off Awolowo Road in Ikoyi.

It will open on Saturday 5 September 2026 and will run until 11 September 2026
This second edition which focuses on celebrating, nurturing and exploring artistic practices rooted in youth and street culture will feature works from DENCITY and SUPERGLIDER HOUSE.

Exhibiting artists include Ajilore Kehinde – their work is deeply influenced by Nigerian street culture and works of other artists like Slawn, Peters Ejiro, etc, Chuka Onwordi – graphic designer who embodies themes of death, melancholy and beauty in his works, ZIDYEP – Abuja based creative whose works move between digital and physical spaces through art, graphic design and air brushing , Franklyn Okoye – graphic designer and artist whose works explore themes of identity and hyper-reality, Awele Onwordi – founder & curator of WAKE UP and multidisciplinary artist whose practice spans character art, creative logo design, album covers and more , Oluchi Kogolo – digital illustrator whose work explores street culture, personality and storytelling through a raw and playful visual style and Kozetuo Apeji – multidisciplinary artists who work explores experimental approaches to problem solving through both digital and traditional art forms.

Commenting on the exhibition in her curatorial statement, Awele noted that “despite economic instability, limited opportunities and socio-political challenges, Nigerian youth continue to shape culture through music, fashion, art, skateboarding, raves, photography and community.”

Also read: Five rising stars battle for 2026 Headies Next Rated

Continuing and harping on the raison d’etre of the exhibition she said, “Young, Wild and Free exists to celebrate Nigerian youth while also creating a platform that supports and amplifies them.”