Our media crew and researchers will cover, the roots of the Yoruba race, Yoruba Afro-American, Yoruba Afro-Latino and Yoruba Afro-Caribbean cultural heritage, visualizing the historical account of the Yoruba in Loiza Puerto Rico, Yoruba in Oyotunji Cultural Village Charleston South Carolina USA, Abeokuta in Jamaica, Bahia in Brazil, Afro-descendant’s festival in Cuba, Maypole festival and Afro-descendants Nicaragua culture, Haiti festival and Yoruba festival in Trinidad and Tobago.

PROJECT PHASE ONE COMPLETION:

So far, we have researched and developed Seven (7) episodic parts of fifty minutes to one hour (50minutes -1hour) per a part, covering the historical genesis of the OLOJO festival, this documentary researched in genre which analyses the source of the Yoruba calendar year, and to document the diverse history behind this festival, our researchers had to research deeply along with the HOUSE OF ODUDUWA in algorithmic process in interviewing the custodians and scholars in order to visualize the historical account that the day was created.

In buttressing part two (2) of this documentation, Our Scholars along with His Imperial Majesty Oba Adeyeye Enitan Babatunde Ogunwusi Ojaja II were able to comprehensively tell the history of the drum deity known as “AYANGALU” which could be categorized as one of the Yoruba female prominent deities and her importance in the musical global world which is fully documented in this part. “AYANGALU” is the creator of talking drum called “DUNDUN”, this deity is the source of music in the black ethnicity and the world. This prominent deity is believed to have been the first drummer in the global black ethnicity, upon her death she was deified, and so now she is counted among the ranks of the Orisas.

As we proceed in the Phase one (1) of “THE ROOTS”, our research team delve-deeper in the world of “RITUALS” as a global perspective towards the Yoruba traditions and its cultural influence in the global world which is the part three (3) and four (4), this part engaged the OBATALA worshipers and His Imperial Majesty Oba Adeyeye Eniitan Babatunde Ogunwusi Ojaja II along with the OBATALA custodian, to document the importance of the OSOSI festival in the world of Rituals.

Part five (5) and part six (6) of this phase documents the importance of women in “ORISA” and meaning of “ORISA”, these two (2) parts documents the Yoruba Woman warlord called “MOREMI AJASORO” as custodian narrates the history of her existence and captivity, “MOREMI AJASORO” is known as “ORISA” in the whole of the Yorubaland because of her heroic contribution in Yorubaland. As we proceeded in this history, our team were able to visit Akire Orisa Palace in Ile-Ife to buttress the story on “ORISA”, Oba and Olori Akire Orisa gave an insight on the cultural significant of the “ORISA”, as well as His Imperia Majesty Ooni of Ife as he also gave narration of what the “ORISAS” are all about and reason why we call them “ORISA” in Yorubaland.

In other to add a male prominent “ORISA” in these parts, our researchers were able to delve-deeper into historical account of “SANGO” which is as well-known as one of the deities in Yorubaland and worshipped in Brazil, Cuba, Spain, Haiti, Puerto Rico, USA, Trinidad and Tobago. The history of the “SANGO” was narrated by the custodian and documentation was visually filmed.

Part seven (7) which is the last part of phase one (1) documented the story of “SUSANNE WENGER” called “ADUNNI OLORISA ”,as the researchers visited “SUSANNE WENGER” shrine in Osogbo.

“SUSSANE WENGER” also known as “ADUNNI OLORISA” was an Austrian-Nigerian artist and Yoruba Priestess who expatriated to Nigeria with focus on the Yoruba culture and she was successful in building shrine art in Osun Osogbo.