Republic of Benin), for example, Ogun appeared
as Gu, the god of iron and war, and ranked third
intheVodupantheon,rightafterMawuandLisa.
A common emblem of Ogu was and still is a cer-
emonial sword. Other common emblems have
includedsmallironimplements,suchasminiature
hoes,knives,daggers,shovels,andspearsattached
onto necklaces, bracelets, clothing, or crowns.
This high and widespread reverence for Ogun,
god of iron, can only be understood within a con-
text that defines iron and ironwork as the most
sacred. The blacksmith surrenders to God while
doing his work, and the latter, therefore, bears the
mark of the divine. Most compelling, however, the
blacksmith in his forge replicates, in a symbolic
and metaphorical way, God’s act of creation of the
world. Indeed, the melting of iron in a furnace, a
pervasivesymbolofthefemalewomb,hasbeenfre-
quently associated, in many African societies, with
fertility, vitality, and creative power. The reenact-
mentofthecreationoftheworld,andoflifeitself,
through the melting and forging of iron largely
explains the lasting prestige of blacksmiths and,
aboveall,ofOgun,thedivinityofiron.Inaddition,
giventhecivilizingpowerofiron,Ogunisalsocon-
sidered the deity of civilization and technology. All
those whose occupation is related to metal, from
farmers to surgeons, from barbers, haircutters,
mechanics, butchers, and taxi drivers to soldiers
andhunters,paytributetoOgunastheirpatron.
Many festivals are held in Ogun’s honor, such
asOdun Ogun, in Yorubaland, where Ogun is
appealedtotomaintainpeaceinsociety.Likewise,
Ijalasongs are Yoruba poetic chants devoted to
salute and praise Ogun. In Africa, Ogun’s per-
sonae include Ogun Akirim, Ogun Alagbede,
Ogun Alara, Ogun Elemona, Ogun Ikole, Ogun
Meji,OgunOloola,OgunOnigbajamo,andOgun
Onire. His favorite foods and drinks are dogs,
pigeons,snails,cocks,eggs,chalk,kolanuts,plan-
tain, yams, palm wine, palm oil, and black and
white thread.
Ogun crossed the Atlantic Ocean along with
the millions of Africans who were forcibly
removed from their homeland during the days of
the European slave trade and concurrent enslave-
ment of African women, men, and children in the
Americas. Understandably, the focus on Ogun as
god of iron, while subsisting, became nonetheless
lessmarked,whereasgreateremphasiswasplaced
on Ogu as god of war. In an environment where
Africans were subjected to cruelties and tortures
of all kinds, on a constant basis, a divinity like
Ogun became quite necessary and significant. In
fact, Ogun is intimately associated with the
Revolutionary War in Haiti, which took place
in the 19th century. It is said that Dessalines and
Toussaint L’Ouverture, two major players in the
war,bothservedOgunandwereinturnprotected
and guided by him.
However, whatever his geographical location,
common characteristics are clearly discernible.
Ogun is most unambiguously associated with
strengthandpower.Heisfire,and,assuch,Ogun
can be quite aggressive, direct, and forceful.
Becauseofhishotenergyandquicktemper,Ogun
creates as well as destroys. But Ogun is also an
uncontestable leader who breaks new grounds
andcreatesnewpathswhenothershavegivenup.
ThisparticularattributeofOgun,asleader,stems
from the ancient Yoruba story according to
which Ogun was the first Orisha to have come
ontotheEarth,leading401otherOrisha.Thanks
to his iron implements, he cleared the forests,
thus creating a sacred passage to the Earth.
Others followed him, whereas Ogun led the way
into the world.
Ogun is Ogu in Haiti. In Haitian Vodu, he is
quitefondofsmokingcigarsanddrinkingrum.A
machete firmly planted in front of the Vodu altar
remains Ogun’s most distinctive emblem. His
Vodu personae include, among others, Ogu Feray
(or Ogu Fè), Ogu Badagri, Ogu Balindyo, Ogu
Batala, and Ogu Shango. In Brazil, Ogun is
Ogum. His Candomblé worshippers place pieces
of iron and miniature iron objects, like those dis-
played in Africa, such as knives, swords, shovels,
and picks, on the altars dedicated to him. In sum-
mary, Ogun continues to play a major part in
African religious life because his incredible power
is both revered and feared.Ama MazamaSee alsoShangoFurther Readings
Babalola, A. (1997). A Portrait of Ogun as Reflected in
Ijala’s Chants. In S. Barnes (Ed.),Africa’s Ogun: Old482 Ogun