La ressource en eau, sa gestion, sa protection, diffèrent selon les régions, avec des spécificités locales à connaître pour participer à un développement durable efficace et concret.
Pour sensibiliser autrement et toucher tous les usagers, iléo s’appuie sur les réseaux sociaux et sur des créatrices de contenu afin de relayer les bonnes pratiques en matière d’économies d’eau, avec spontanéité, proximité et pédagogie.
La Maison de l’Eau s’installe chaque année dans une dizaine de communes parmi les 66 que gère iléo. Retrouvez ci-dessous les prochaines dates à venir :
Responsable des relations avec les usagers, iléo s'engage auprès de 340 000 abonnés 24h/24 et 7j/7.
iléo assure l'exploitation et la distribution du service public de l'eau sur 66 des 95 communes de la Métropole Européenne de Lille.
iléo gère la distribution de plus de 50 millions de m3 dans 66 communes de la métropole. Elle dessert ainsi quotidiennement plus d'un million d'habitants.
The myth of Obatala’s imprisonment is a humbling reminder that even divine beings are subject to the unpredictable trials of destiny. The Journey to Visit a Friend
Obatala: The Creator and Wisdom Keeper in Yoruba Mythology - Oriire
With the creator Orisha locked away in a dungeon, the cosmos falls into chaos.
Along the way, Obatala encounters Eshu, the trickster deity, in various disguises. Eshu tests Obatala's patience by tricking him into carrying dirty charcoal, soot, and palm oil, completely staining his pure white garments. the imprisonment of obatala pdf free download top
The suffering of Oyo demonstrates that the mistreatment of the innocent impacts society as a whole. Injustice disrupts the spiritual ecology of a community, causing collective stagnation and misfortune until rectification occurs. Literary and Scholarly Resources
The third play is based on an Ijaw myth recorded by the Nigerian writer Gabriel Okara. The Ijaw people are from the Niger Delta region of Nigeria, and Woyengi is a central deity in their cosmology. This play explores themes of identity, motherhood, and the profound connection between the individual and the community. It serves as a beautiful example of the rich storytelling traditions of another major Nigerian ethnic group.
The cultural impact of this myth extends far beyond oral tradition. In 1966, the play The Imprisonment of Obatala was published under the name (a pen name heavily associated with the influential German scholar Ulli Beier and the Mbari Club of Ibadan). Themes in the Play The myth of Obatala’s imprisonment is a humbling
It highlights how the actions of rulers impact the spiritual and physical well-being of the entire community.
Shango’s aggressive, military power is contrasted sharply with Obatala’s quiet, moral authority.
Desperate, King Shango consults the Ifá oracle, which reveals that an innocent, holy old man is wrongfully imprisoned. Eshu tests Obatala's patience by tricking him into
Upon reaching the borders of Oyo, Obatala spots Shango’s runaway horse. As he attempts to catch the animal to return it to his friend, Shango’s guards spot him. Seeing a man in stained, ragged clothes handling the royal steed, they mistake the high god for a common horse thief.
According to Yoruba mythology, Obatala was imprisoned by his fellow gods, led by the powerful and cunning Oshun, goddess of love and beauty. The exact circumstances of his imprisonment vary depending on the source, but the core narrative remains the same: Obatala, known for his unwavering commitment to justice and morality, became embroiled in a dispute with Oshun over the creation of humans.
"The Imprisonment of Obatala" is far more than a simple fable; it is a profound spiritual teaching that anchors the Yoruba worldview. It reminds us that even in moments of severe trial, maintaining one's character ( iwa ) and practicing supreme patience are the highest forms of devotion.
The second play in the collection is an adaptation of the classic 15th-century English morality play Everyman . In the original, the character Everyman is summoned by Death and must find a companion for his final journey, discovering that only his Good Deeds will stay with him. In Ijimere’s/Beier’s hands, the story is rethought entirely in Yoruba terms, using Yoruba concepts and philosophy to explore the universal themes of mortality, materialism, and the value of a virtuous life.
The title play is part of a larger collection that includes two other plays: Everyman , an adaptation of Hugo von Hofmannsthal's play rethought entirely in Yoruba terms, and Woyengi , which is based on an Ijaw tale.