See Chango for other meanings.''
See Shanga for the archaeological site in Kenya.''
Shango is also a spider genus (Dictynidae).
''You may also be looking for the Juno Reactor album, Shango.

In Yorùbá mythology, Shango (Xango, Shango), or Changó in Latin America, is perhaps the most popular Orisha; he is a Sky Father, god of thunder and lightning. Shango was a royal ancestor of the Yoruba as he was the third king of the Oyo Kingdom. In the Lukumí (O lukumi = "my friend") religion of the Caribbean, Shango is considered the center point of the religion as he represents the Oyo people of West Africa. The Oyo Kingdom was sacked and pillaged as part of a jihad by the Islamic Fulani Empire. All the major initiation ceremonies (as performed in Cuba, Puerto Rico and Venezuela for the last few hundred years) are based on the traditional Shango ceremony of Ancient Oyo. This ceremony survived the Middle Passage and is considered to be the most complete to have arrived on Western shores. This variation of the Yoruba initiation ceremony became the basis of all Orisha initiations in the West.

The energy given from this Deity of Thunder is also a major symbol of African resistance against an enslaving European culture. He rules the color red and white; his sacred number is 6; his symbol is the oshe (double-headed axe), which represents swift and balanced justice. He is owner of the Bata (3 double-headed drums) and of music in general, as well as the Art of Dance and Entertainment.


Shango was the fourth king of Oyo in Yorubaland, and deified after his death; mythologically, he (along with 14 others) burst forth from the goddess Yemaja's body after her son, Orungan, attempted to rape her for the second time. of course there are several myths regarding the birth and parentage of Shango. He is a major character in the divination literature of the Lukumi religion. Stories about Shango's life exemplify some major themes regarding the nature of character and destiny. In one set of stories Shango is the son of Aganju and Obatala. As the story goes, Obatala, the king of the white cloth was travelling and had to cross a river. Aganju, the ferryman and god of fire, refused him passage. Obatala retreated and turned himself into a beautiful woman. He returned to the river and traded his/her body for passage. Shango was the result of this uneasy union. This tension between reason represented by Obatala and fire represented by Aganju would form the foundation of Shango's particular character and nature. In further patakis Shango goes in search of Aganju, his father, and the two of them play out a drama of conflict and resolution that culminates with Shango throwing himself into the fire to prove his lineage. All of the stories regarding Shango revolve around dramatic events such as this one. He has three wives; his favorite (because of her excellent cooking) is Oshun, a river goddess. His other wife, Oba, another river goddess, offered Shango her ear to eat. He scorned her and she became the Oba River, which merges with the Oshun River to form dangerous rapids. Lastly, Oya was Shango's third wife, and stole the secrets of his powerful magic. [1]

The story of Shango and Oba carries the familiar refrain, "all that glitters is not gold". As has been stated Shango had three wives, Oba, his first and legitimate wife, Oya, his second wife, and Oshun his concubine. At that time and in that place they would live in a compound. In that compound, Shango had his own house and each wife had her own house surrounding his. He would then visit his wives in their houses to eat and to sleep with them. Oba noticed that when Shango went to the house of Oshun he would eat all of the food that she prepared for him but when he came to her home he would just pick. Oba, wanting a closer relationship with her husband, decided to ask Oshun how she kept Shango so happy. Oshun, being asked this, was filled with resentment. As children of the first wife, Oba's children would inherit Shango's kingdom. Her children would not have nearly the same status, being born from his concubine. She decided to play a trick on Oba, out of jealousy. She told Oba that many years ago she had cut a small piece of her ear off and dried it. From this she made a powder she would sprinkle on Shango's food. As he ate it, she told Oba, Shango would desire the food and Oshun all the more. Oba, excited by this information, ran home to prepare Shango's amala, his favorite stew. Once it was done she decided that if a little piece of Oshun's ear produced such an effect her whole ear would drive Shango mad with desire for her and he would forget Oshun forever. She sliced off her ear and stirred it into Shango's food. When Shango came to eat he sat down and began eating without looking at his dish. When he finally glanced down he saw an ear floating in the stew. Shango, thinking Oba was trying to poison him, drove her from his house. Oba ran from the compound, crying, and fell to earth to become a river, where she is still worshipped today. As an orisha she is the patron of matrimony and is said to destroy marriages that abuse either partner.

Worship of Shango

The religious ritual of Shango was possibly designed in order to help the devotees of Shango gain self-control. Historically, Shango brought prosperity to the Oyo Empire during his reign. After deification, the initiation ceremony dictates that this same proseperity be bestowed upon followers, on a personal level. According to Yoruba and Vodun belief systems, Shango hurls bolts of lightning at the people chosen to be his followers, leaving behind imprints of stone axe blade on the Earth's crust. These blades can be seen easily after heavy rains. Worship of Shango enables- according to Yoruba belief- a great deal of power and self-control. Shango altars often contain a carved figure of a woman holding a gift to the god with a double-bladed axe sticking up from her head. The axe symbolizes that this devotee is possessed by Shango. The woman’s expression is calm and cool, for she is expressing the qualities she has gained through her faith. The orisha, or gods, are Yoruba ancestors or incarnate natural forces. Some of them are ancient, created in the beginning of time by the Great God, Ollorun. Orisha may be considered natural forces such as rivers, mountains, stones, thunder, or lightning. There are two categories of gods, which are grouped according to personalities and modes of action. Shango, the lord of thunder, is grouped as an orisha gbigbona—the “hot temperamental gods”. This group of gods mostly consists of males, but there are a few females. Shango’s wife, Oya is also included as a “hot god”. She is the queen of the whirlwind. This goddess tends to be harsh, demanding, hostile and quick to anger. Other “hot gods” include Ogun, god of iron and Obaluaye, lord of pestilence. The second category of gods is the orisa funfun—“the cool, temperate, symbolically white gods”. These are the gentle, calm, and mellow gods. They include: Obatula/Orisonla, the divine sculptor; Osooli/Eyinle, lord of hunting and water; Osnyin, lord of leaves and medicine; Oduduwa, first king of Ile Ife.

Orisha recognizes not only gods but also heroes of Yorubaland. Shango fits both of these descriptions, for his is not only the embodiment of thunder, but also a hero of the Oyo Empire.

The ibori is the symbol of a person’s inner spiritual essence or individuality known as iponri. The ibori is cone shaped and repeats throughout Yoruba culture. The top of an ibori is called the oke iponri. This tip is made from the person’s placenta and symbols of deities or ancestors. The deity, Sango, is represented by wind.

Worship in different cultures

Shango is worshipped in Haitian Vodun, as a god of thunder and weather; in Brazilian Candomblé Ketu (under the name Xangô); in Umbanda, as the very powerful loa Nago Shango; in Trinidad as Shango God Of Thunder, drumming and dance ; and in Cuba, Puerto Rico and Venezuela - the Santeria equivalent of St. Barbara[2], a traditional colonial disguise for the Deity known as Changó.

In art, Shango is depicted with a double-axe on his three heads. He is associated with the holy animal, the ram, and the holy colors of red and white.

In popular culture

  • King Shango is an alternate name for reggae entertainer Capleton.
  • Shango is the title of a Juno Reactor album.
  • Shango (rock group) was the name of a rock group in the late 1960s.
  • In 2006, distributors WyattZier, LLC launched a rum brand named "Shango".[3]
  • Shango, a song on Angélique Kidjo's Fifa album, celebtates this orisha.
  • Shango, a 1982 album by Santana.
  • Shango Electric is the title of a song on David Rudder's 'International Chantuelle' album.
  • Canto de Xangô is the title of a song by Vinicius de Moraes and Baden Powell.
  • King Changó is the name of a Latin ska band based in New York.
  • Changó is the name of a song by Devo on their album.
  • Shango makes a cameo in the 2005 movie Checking Out, when the main character goes to see an urban Shaman (apparent devote of Shango) to communicate with Shango on an important matter central to the plot of the movie.
  • Xangoman is the name of a Venezuelan singjay/producer based in Berlin and Tübingen, Germany.
  • Shango makes an appearance in the role-playing game Scion by White Wolf.

See also

  • Santería - Cuba-originating belief system that combines Catholicism with Yoruba mythology
  • Saint Barbara - Catholic saint used as representation Shango in Santería.
  • Shango Baptist - Trinidad and Tobago originating belief system that combines Orisha Worship with Christianity


1. ^ Shango at
2. ^ Shango syncretism -
3. ^ Shango Rum
  • Drewa, Henry John & Pemberton, John III. Yoruba: Nine Centuries of African Art and Thought. The Center for African Arts in association with Harry N. Abrams Inc. 1989. p. 13.
  • Visona, Monica B., Robin Poynor, Herbert M. Cole, Michael D. Harris, Suzanne P. Blier, and Rowland Abiodun. A History of Art in Africa. New York: Prentice Hall, Inc. and Harry N. Abrams, Inc., 2001. p. 253.
  • Unknown Yoruba Artist. Figure for a Shango Cult. Nigeria. Late 19th century.

External links

Chango might refer to one of:
  • [] Barcelona music site which specializes in mestizo/patchanka music
  • Chango_family world/gypsie/reggae touring band from Quebec/Spain/France
  • Chango Spasiuk Argentine musician

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"Harambee"   (Swahili)
"Let us all pull together"
Ee Mungu Nguvu Yetu
"Oh God of All Creation"
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O. P-Cambridge, 1871

48 genera, 562 species


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Shango is the fifth album released by the multi-genre encompassing trance group Juno Reactor.

Track listing

All tracks made by Ben Watkins with collaborators mentioned on the tracklist.
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Yoruba religion is the religious beliefs and practices of the Yoruba people both in Africa (chiefly in Nigeria and Benin Republic), and in the New World, where it has influenced or given birth to several Afro-American religions such as Santería in Cuba and Candomblé in Brazil in
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Orisha (also spelled Orisa and Orixá) is a spirit which reflects one of the manifestations of Olodumare (God) in the Yoruba spiritual or religious system.
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sky father is a recurring theme in mythology. The sky father is the complement of the earth mother and appears in some creation myths, many of which are European or ancient Near Eastern.
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Thunder is the sound made by lightning. Depending on the nature of the lightning and distance of the hearer, it can range from a sharp, loud crack to a long, low rumble. It is produced by a sonic shock wave caused by the rapid expansion of the air surrounding and within a bolt of
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Yoruba (Yorùbá in Yoruba orthography) are a large ethno-linguistic group or ethnic nation in Africa; the majority of them speak the Yoruba language (èdèe Yorùbá; èdè = language).
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Oyo can refer to:

In Nigeria:
  • The Oyo Empire or Kingdom, a former West-African empire that covered parts of modern-day Nigeria and Benin
  • Oyo State, a present-day state of Nigeria named after the Oyo Empire

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Yemaja is an orisha, originally of the Yoruba religion, who has become prominent in many Afro-American religions. Africans from what is now called Yorubaland brought Yemaya and a host of other deities/energy forces in nature with them when they were brought to the shores of the
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In Yoruba mythology, Orungan was the son of Yemaja and Aganju.

He ravished his mother once, and as he tried a second time, Yemaja fell and burst open, whereupon the fifteen Orishas came forth from her.[1]



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In Yoruba mythology, Aganju is the Orisha of volcanos and deserts. He is associated with Saint Christopher.

Aganju is heavily associated with Shango, with some stating that he is Shango's father, if not at least his brother.
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Obàtálá (alternatively Oxalá) is a creator god; he made human bodies, and his father, Olorun breathed life into them. While Olorun is considered the creator of the universe, Obàtálá created the world and humanity, being seen as the father of orishas and humankind.
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Ọṣun (or Oshun, Oschun) (IPA: [ɔ 'ʃu n]) in Yoruba mythology, is a spirit-goddess (Orisha) who reigns over love, intimacy, beauty, wealth and diplomacy.
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Ọba or Obbá is the first wife of Shango, the second king of the Oyo Empire and the Yoruba god of thunder and lightning. In Yoruba mythology, Obbá is a river-goddess (Orisha). She was the daughter of Yemaja and one of the wives of Shango.
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outer ear is the most external portion of the ear. The outer ear includes the pinnae (also called auricle), the ear canal, and the very most superficial layer of the ear drum (also called the tympanic membrane).
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The Ọṣun River (sometimes spelt Oshun) is a river that flows southwards through central Yorubaland in southwestern Nigeria into the Lagos Lagoon. It is one of the several rivers ascribed in local mythology to have been women who turned into flowing waters after
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In Yoruba mythology, Oya (Alternative spellings: Oiá, Iansã, Iansan), is the Goddess of the Niger River. She is seen in aspects of warrior-goddess of wind, lightning, fertility, fire and magic.
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Magic, sometimes known as sorcery, is a complete conceptual system of thought, belief, and knowledge that asserts human ability to control the natural world (events, objects, people, and physical phenomena ) through mystical, paranormal or supernatural means.
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"L'Union Fait La Force"   (French)
"Unity makes Strength"
La Dessalinienne
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Vodou (Vodun or Vudun in Benin; and Togo; also Vodon, Vodoun, Voudou, or other phonetically equivalent spellings. In Haiti; Vudu (an Ewe word, also used in the Dominican Republic) is by some individuals applied to the branches of a West
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Brazilian may refers to anything of or relating to Brazil and may refer directly to the following articles:
  • Brazilian people
  • Brazilian Portuguese

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Candomblé Ketu' (or Queto in Portuguese spelling) is the largest and most influential nation (sect) of Candomblé, a religion widely practiced in Brazil. Its beliefs and rituals are similar to those of other Candomblé nations in general terms, but different in almost
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Umbanda is a religion that blends Catholicism, Kardecist Spiritualism, and Afro-Brazilian religions. It originated in Brazil in the early 20th century through a medium, Zélio Fernandino de Moraes, who worked among the Afro-Brazilian population of Rio de Janeiro.
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LOA could stand for:
  • Library of America, a famous American publisher
  • Length Over All, commonly used to indicate maximum hull length of a vessel. LOA is the most commonly-used way of expressing the size of a boat, and is also used for calculating the cost of a

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Santería also known as "La Regla de Lukumi," is an Afro-Caribbean religious tradition derived from traditional beliefs of the Yoruba people of Nigeria. The Santería/Yoruba tradition is comprised of a hierarchical structure according to priesthood level and authority.
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Saint Barbara, known as the Great Martyr Barbara in the Orthodox church, was a Christian saint and martyr, who lived in the third century.

Her story

The hagiography of Saint Barbara says that she was born about 300 A.D. in Nicomedia, Bithynia in Asia Minor.
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ART is a three-letter acronym that can mean:


  • Antiretroviral therapy. It is used in the treatment of HIV infection.
  • assisted reproductive technology


  • Adaptive resonance theory

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Labrys is the term for a doubleheaded axe, known to the Classical Greeks as pelekus (πέλεκυς)[1] or sagaris, and to the Romans as a bipennis.
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