A traditionalist, Abiola Rosanwo, has berated Nollywood actress cum filmmaker Yetunde Barnabas over the portrayal of Yoruba deities in her forthcoming film, Olokun Mermaid. She accused the actress of misrepresenting the Isese tradition.
Rosanwo, who is the Yeye Owonrin Ojose of Isara Remo and a custodian of Yoruba Isese tradition, criticised in a series of Facebook posts on Saturday, where she insisted that neither Yemoja nor Olokun should be portrayed as mermaids or fish-like beings.
Yetunde, the producer of the project, stated that the movie was initially produced under the title Yemoja before it was renamed Olokun Mermaid.
She explained on her Instagram page on Saturday, after she was criticised by Yoruba traditionalists, that she changed the title after discovering that some YouTube platforms had already used her image to promote another production titled Yemoja.
Questioning the decision, Rosanwo wrote, “If the name of your movie was Ogun, can you change the name to Sango after production? Yemoja is not Olokun. Olokun is not a mermaid. Yemoja also is not a mermaid or a fish.”
The traditionalist argued that the change reflected a misunderstanding of Yoruba traditional beliefs, insisting that Yemoja, Olokun and Osun are distinct deities with different identities.
“Across Yoruba land, Isese is one. No one has a record of Yemoja as a fish or mermaid. Osun, Yemoja and Olokun are not the same,” she said.
She further alleged that the repeated portrayal of Yoruba deities as “Mammy Water” or half-human, half-fish creatures has continued to distort indigenous beliefs.
“Our Irúnmọlẹ̀ are not mythical half-human, half-fish creatures. They are sacred, divine beings. Those who later became Òrìṣà walked the earth as complete human beings before their transition. To replace that heritage with foreign imagery is to misinform the public and dishonour our cultural and spiritual legacy,” she added.
Rosanwo stated that members of the Molokun sect across Ijebu and other parts of Yorubaland had reported the matter to the appropriate authorities, including the National Film and Video Censors Board and the Theatre Arts and Motion Pictures Practitioners Association of Nigeria.
In an open letter addressed to the NFVCB, TAMPAN, filmmakers and the general public, she appealed for a review of the movie before its release.
She maintained that the concern was not an attempt to suppress creativity but to ensure accurate representation of Yoruba indigenous religion.
“My concern was never directed at creativity or artistic expression. Rather, it stemmed from the responsibility we all share to protect the integrity of sacred indigenous traditions,” she said.
Rosanwo also claimed that Olokun, in authentic Yoruba Isese tradition, is “a revered male Irúnmọlẹ̀” and should not be presented as a mermaid.
In a subsequent update, the traditionalist said officials of the NFVCB and TAMPAN had responded to the complaints and were engaging with the concerns raised.
“I write this open letter with profound appreciation and sincere gratitude to the leadership of the National Film and Video Censors Board and the leadership of TAMPAN, Remo Zone, Ogun State, for your prompt response and swift intervention,” she wrote.
She expressed hope that the engagement would encourage greater collaboration between filmmakers and recognised custodians of Yoruba indigenous knowledge whenever traditional religion is depicted in films.
Rosanwo, who is the Yeye Owonrin Ojose of Isara Remo and a custodian of Yoruba Isese tradition, criticised in a series of Facebook posts on Saturday, where she insisted that neither Yemoja nor Olokun should be portrayed as mermaids or fish-like beings.
Yetunde, the producer of the project, stated that the movie was initially produced under the title Yemoja before it was renamed Olokun Mermaid.
She explained on her Instagram page on Saturday, after she was criticised by Yoruba traditionalists, that she changed the title after discovering that some YouTube platforms had already used her image to promote another production titled Yemoja.
Questioning the decision, Rosanwo wrote, “If the name of your movie was Ogun, can you change the name to Sango after production? Yemoja is not Olokun. Olokun is not a mermaid. Yemoja also is not a mermaid or a fish.”
The traditionalist argued that the change reflected a misunderstanding of Yoruba traditional beliefs, insisting that Yemoja, Olokun and Osun are distinct deities with different identities.
“Across Yoruba land, Isese is one. No one has a record of Yemoja as a fish or mermaid. Osun, Yemoja and Olokun are not the same,” she said.
She further alleged that the repeated portrayal of Yoruba deities as “Mammy Water” or half-human, half-fish creatures has continued to distort indigenous beliefs.
“Our Irúnmọlẹ̀ are not mythical half-human, half-fish creatures. They are sacred, divine beings. Those who later became Òrìṣà walked the earth as complete human beings before their transition. To replace that heritage with foreign imagery is to misinform the public and dishonour our cultural and spiritual legacy,” she added.
Rosanwo stated that members of the Molokun sect across Ijebu and other parts of Yorubaland had reported the matter to the appropriate authorities, including the National Film and Video Censors Board and the Theatre Arts and Motion Pictures Practitioners Association of Nigeria.
In an open letter addressed to the NFVCB, TAMPAN, filmmakers and the general public, she appealed for a review of the movie before its release.
She maintained that the concern was not an attempt to suppress creativity but to ensure accurate representation of Yoruba indigenous religion.
“My concern was never directed at creativity or artistic expression. Rather, it stemmed from the responsibility we all share to protect the integrity of sacred indigenous traditions,” she said.
Rosanwo also claimed that Olokun, in authentic Yoruba Isese tradition, is “a revered male Irúnmọlẹ̀” and should not be presented as a mermaid.
In a subsequent update, the traditionalist said officials of the NFVCB and TAMPAN had responded to the complaints and were engaging with the concerns raised.
“I write this open letter with profound appreciation and sincere gratitude to the leadership of the National Film and Video Censors Board and the leadership of TAMPAN, Remo Zone, Ogun State, for your prompt response and swift intervention,” she wrote.
She expressed hope that the engagement would encourage greater collaboration between filmmakers and recognised custodians of Yoruba indigenous knowledge whenever traditional religion is depicted in films.
