The other name a reader will meet constantly is Wande Abimbola, whose Ifa: An Exposition of Ifa Literary Corpus appeared from Oxford University Press in Ibadan in 1976, and whose Sixteen Great Poems of Ifa was published by UNESCO the year before. Abimbola approached the ese as literature as well as ritual speech, arguing for the corpus as a body of Yoruba poetry with its own conventions, structures and merits, at a time when African oral material was routinely filed as folklore rather than as literature.
That framing matters to how the record should be read. A verse printed as poetry has been selected, transcribed, lineated and translated, and each of those steps is an editorial decision made by someone. It also means the published corpus is weighted towards material that reads well in print. Neither point is a criticism of the scholarship; both are reasons a reference page should describe what the record contains rather than quote from it as though it were a fixed text.
Abimbola wrote as a scholar and as an initiate, which is a combination the field has more of than most religious-studies subfields, and it is part of why the literature is comparatively careful about what it does and does not publish.
Oyeku Meji, like every principal figure, heads material in that corpus. The atlas points at the scholarship and stops there: the verses and their application in a reading belong to initiated practitioners and are not reproduced.