This pancocojams post also showcases four YouTube videos of Oya dances from Cuba. i These videos are different from the ones that are featured in that Daily Kos article.
The content of this post is presented for cultural. religious, and aesthetic purposes.
All copyrights remain with their owners.
Praises and thanks to Oya and Shango (who is also referred to in the full article that is excerpted in this pancocojams post.) Thanks to Denise Oliver Velezfor her cultural writing, activism, and role modeling. Thanks to all those who are featured in these videos and thanks to all those who are quoted in this post. Thanks also to the publishers of these videos. -snip- Click http://pancocojams.blogspot.com/2014/06/brazilian-songs-dances-for-iansa-yansa.htmlfor a 2014 pancocojams post entitled "Brazilian Songs & Dances For Iansã (Yansã, Oya)".
It’s always interesting to me how countries portrayed as having majority Roman Catholic populations manage to mask the fact that being Catholic in many cases does not negate that a far older form of spirituality, brought here to this hemisphere via the transatlantic slave trade, is still practiced. In many cases it has grown into larger numbers in these countries than current adherents in West Africa.
Out of those traditions comes a wealth of music, and dance, some of which I have posted here in the past.
[...]
Oya,or Yansa, is the Orisha who rules the winds. Tornados and whirlwinds accompanied by lightning are her element. She is a warrior Orisha who rides to do battle at the side of Shango, her husband. She is also the guardian of the gates to the cemetery. Her symbols are masks,and a horsetail fly-whisk. Her number is nine, said to represent the nine tributaries of the Niger River. She is Catholic, syncretized with The Virgin of Candelaria in Cuba, one of many manifestations of a Black Madonna who came from the old world to the new.
The Yorùbá name “Ọya Ìyánsán” means literally “Oya mother of nine (children)”. Oya is the goddess in charge of wind, tornado, torrential rain and hurricans and beloved wife of Orisha Shango, who is often only called by his name Yor. “ọkọ Ọya”, husband of Oya. Like wind and thunderstorm they cannot be separated one from another. Oya was Ogun’s wife, but left him for Shango. She is also hot-tempered and energetic. In Yorùbáland, Oya is the Orisha of the river Niger. In Cuba she resides at the entrance to the cemetery, where she leads the dead ones and hands them over to the female Orisha Oba and Yewa, who live inside these walls. Walking on the boundary between life and death Oya is closely related to the Yor. “Eégún”, the dead ancestors. She herself had nine stillborn children she is still protecting. With strong winds she can blow away obstacles and bring new things into the life. Oya stands for the female strength in times of struggle, respected for her strong will and fearless through her connection with the world of the deads. Oya is the female warrior goddess and also known for her strong medicines. Oya’s color is mostly burgundy or wine-red. Around her waist she wears a belt with nine different colored pieces of clothes attached, symbols for being the mother of nine dead children. Oya can wear all colors, except black. Sometimes palm fibers from the “palma real,” Shango’s tree, are added.
[...]
She carries an “ìrùkẹ̀” made of a black horsetail. She can hold a “machete” or a “vaina,” a huge painted seed from the flamboyant tree, in her hands. It has the form and almost the size of a “machete” and is used like a rattle to call her. In her dance Oya moves around like a whirlwind or tornado, spins around her axis to the left. She swings her whisk above her head, brings wind and dynamic change, clears and purifies the air. She brings both arms high in the air above her head in mirrored positions and in a sudden powerful movement stretches them downwards to her hips, followed by a wave, a spinal ripple, moving through her body, going from her pelvis up where it twists the head. She is crying out loudly while dancing, looks fierce and strong, aggressive and violent, her movements are impulsive, energetic and characterized by abrupt stops. Some people say one dance of her in the rhythm “shashalokafun” is related to the buffalo, her sacred animal and the steps mimic the gallop of this massive animal."...
**** SHOWCASE VIDEO #2: Yoruba Andabo - Oyá Yansa
AyvaMusica, Jan 6, 2014
**** SHOWCASE VIDEO #3: La Rumba No Va A Morir - Echu Alabbony - Event Yoruba Oya
attic chris, Jan 10, 2018
La Rumba No Va A Morir presents a spectacular event by Echu Alabbony - Yoruba Oya
Natividad Calderón prepared a beautiful event with the kids of the group Echú Alabbony in 2007 in the streets of Juanelo, San Miguel del Padron, Havana, Cuba.
I had the chance to film this event together with Virna Hernandez. This was one of the most beautiful times of the project!
HavanaCultura, Published on Apr 19, 2017 -snip- Statistics for this video as of Feb. 24, 2021 at 9:03 AM ET Total number of views - 2,291,835 Total number of likes - 46K Total number of dislikes - 413 Total number of comments- 702
**** Edited by Azizi Powell
This pancocojams post showcases the official YouTube video "La Rumba Me Llamo Yo" as performed by Cuban singer Daymé Arocena
This post presents an English translation for this song which is sung in Spanish. Some explanations in English for some of these lyrics are also included in this post.
This content is presented for cultural, entertainment, and
aesthetic purposes.
All copyrights remain with their owner.
Thanks to Daymé Arocena for her musical legacy. Thanks to
the producer of this video and all those who are featured in this video and
thanks to all those who are quoted in this post. Thanks also to the publisher
of this video on YouTube. -snip- Click http://pancocojams.blogspot.com/2019/06/cuban-singer-dayme-arocena-la-rumba-me.htmlfor the June 2019 pancocojams post entitled "Cuban Singer Daymé Arocena - "La Rumba Me Llamo
Yo" (video & comments)." That post includes biographical information about Daymé Arocena that is found in the summary of that video and selected comments from that YouTube video's discussion thread.
**** ENGLISH TRANSLATION FOR LYRICS FOR "LA RUMBA ME LLAMO YO" ("THE RUMBA IS MY NAME"]
[Scat singing]
My mother says that black is gifted That he approaches me for shadow And that he does not love my side That I am a daughter of luck That mine is natural That I do not share my glory Pa that don't love me wrong
My mother says, your ocha is not babalawo But if you were a man, drummer you were consecrated Moyugba Eggun, who does not let you fall That goes to war with you so that I can win
Says my mother will be fine and thin But the conga With you, Dancing you pal bembe That gives you laughter, and a tumbao that tumbles And that is why the dead are going to pull you to the rumba
[Scatting]
I'm Iya, I'm Bongo, the rumba is my name The rumba is my name, the rumba is my name I am Iya, I am Bongo, the rumba is my name
[Scatting] (x5)
I'm Iya, I'm Bongo, the rumba is my name… (x5)
Imborooooo
What do you want 'to be given? Rumba, come come, what do you want to do?
What do you want them to give you? Rumba, come come, what do you want 'to be given? Rumba, come come
(Tell me what you want them to give you?)
What do you want them to give you? Rumba, come come…
**** EXPLANATIONS FOR SOME OF THE LYRICS IN THIS SONG OCHA From https://silirecio.com/blog/what-have-i-done-and-other-answers-to-your-questions#:~:text=Here's%20what%20it%20means%3A,during%20a%20seven%2Dday%20ceremony. …“Ocha = Ocha (Kariocha, making Santo): The initiation of a
new priest or priestess where his/her tutelary Orisha is put on his/her head
(crown) during a seven-day ceremony. The newly initiated priest/priestess then
enters their Iyaworaje, their year and 7 days of purification, rejuvenation,
transformation and learning. -snip- Here's information about the word "orisha" from https://en.wikipedia.org/wiki/Orisha "In the native religion of the Yoruba people, Orisha (spelled
òrìṣà in the Yoruba language, orichá in Cuban practice and orixá in Brazilian
practice of Latin America) are spirits sent by Olodumare[1] for the guidance of
all creation and of humanity in particular, on how to live and be successful on
Àiyé (Earth). Most Òrìṣà are said to have previously existed in the spirit
world (òrún) as Irúnmọlẹ̀, and then become incarnated as human beings here on
Earth. Others are said to be humans who are recognised as deities upon their
death due to extraordinary feats accomplished in life.[2]
Many Òrìṣà have found their way to most of the New World as
a result of the Atlantic slave trade and are now expressed in practices as varied
as Santería, Candomblé, Trinidad Orisha, Umbanda, and Oyotunji, among others.
The concept of orisha is similar to those of deities in the traditional
religions of the Bini people of Edo State in southern Nigeria, the Ewe people
of Benin, Ghana, and Togo, and the Fon people of Benin.[2][3]”…
**** BABALAWO From https://en.wikipedia.org/wiki/Babalawo#:~:text=Babaal%C3%A1wo%20or%20Babalawo%20(Babalao%20or,priest%20of%20the%20If%C3%A1%20oracle. "Babaaláwo or Babalawo (Babalao or Babalaô in West Africa; literally meaning
'father of the mysteries' in the Yoruba language) is a spiritual title that
denotes a priest of the Ifá oracle. Ifá is a divination system that represents
the teachings of the Òrìṣà Ọrunmila, the Òrìṣà of Wisdom, who in turn serves as
the oracular representative of Olodumare. A Babalawo's female counterpart is
known as an or Ìyánífá
**** MO'JUBA (given as "Moyugba Eggun" in that song)
from https://sites.google.com/site/theyorubareligiousconcepts/suyere-prayers/mo-juba-iba ..."The Mo'juba is a ancestral prayer that santeros/as use to
called the spirit, material and ancestral spirit into being . This allows the
Ase ( spoken power) to manifest into the material world as a guide and tool for
any given ceremony. The main thing about the Mojuba is that it come from the
heart of the person speaking it"...
[,,,]
Mojuba eggun-gun ile e eleri e mi ( Reverence to the spirits
of my house and of my head)”…
When an individual is born, her soul incarnates, that is,
takes on a physical body. This soul comes from a constellation of energy that
continuously incarnates within a family line. This is a very broad concept,
because all family lines eventually return to one people. However, it is
commonly believed that familiar energies tend to stay together, which is why we
bear the traits of our recent ancestors. While the soul is here, it gathers
wisdom and knowledge through its experiences on this plane. When the individual
dies, the spirit dis-incarnates and returns to that constellation of energies,
the cull of souls, if you will, to await reincarnation.”…
**** IYA From https://en.wikipedia.org/wiki/Iya_Nla "Ìyá Nlá is the primordial spirit of all creation in
Yoruba cosmology. She is believed to be the source of all existence. Iya Nla
literally means “Great Mother” in the Yoruba language (Ìyá: Mother; Nlá:
Big or Great).”...
In The Gẹ̀lẹ̀dẹ́ Spectacle: Art,
Gender, and Social Harmony in an African Culture, art historian Babatunde Lawal
reveals that Ìyá Nlá in Yoruba cosmology is the orisha who is the
“Mother of All Things, including the deities.”[1] Lawal also asserts that the
female principle in nature has been personified as Ìyá Nlá (The Great
Mother), whereby human beings can relate to one another as children of the same
mother.”[2] Teresa N. Washington’s Our Mothers, Our Powers, Our Texts:
Manifestationsof Àjẹ́ in Africana Literature, states that Ìyá
Nlá — the Mother of All, who is also known as Yewájọbí, Odù, Odùduwà, and
Àjẹ́ — is not merely an orisha; Ìyá Nlá is the primordial force of all
creation.[3]"
**** I'm not sure what the word "Bongo" means in this song. Since "Iya" means "Mother of all", my guess is that in the context of the line "I'm Iya, I'm Bongo, the rumba is my name", "Bongo" means Father of all".
**** I don't know what "Imboro" means in this song.
This is Part I of a two part pancocojams series on the Brazilian percussion group Olodum.
Part I provides information about Olodum and showcases five YouTube videos of that group.
Selected comments from the discussion threads for two of these videos are also included in this post.
Click http://pancocojams.blogspot.com/2018/06/bahian-percussion-group-olodum.html for Part II of this series. Part II showcases a video of Michael Jackson performing his song "They Don't Care About Us" and a video of Paul Simon performing his song "The Obvious Child". Both of these videos feature Olodum.
Information about these two songs and the lyrics for these songs are also included in that post.
****
The contents of this post is presented for cultural, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to Olodum for its cultural legacy. Thanks also to to all those who are quoted in this post and thanks to the publishers of these videos on YouTube.
-snip-
A version of this pancocojams post was published on March 2012.
****
INFORMATION ABOUT OLODUM
Excerpt #1
[I retrieved this information from Olodum's YouTube bio page in 2012:]
"Olodum is a cultural activism group created with the objectives of fighting racial discrimination and socioeconomic inequality. They have recorded ten LPs/CDs and have worked with Wayne Shorter, Jimmy Cliff, Herbie Hancock, Michael Jackson, Paul Simon, and Spike Lee. The group draws 4,000 people to parade in the bloco (which has about 200 musicians) at Salvador BA carnival, gives lectures on social and political issues, and publishes a monthly news journal, Bantu Nagô. The group also runs a factory for clothes and musical instruments sold to the public and a school for Salvador's poor children.
Olodum was created in Salvador, BA, in April 25, 1979. Olodum takes its name from the Yoruba deity Olodumaré ("God of Gods," in Yoruba language). Originally a bloco afro (a Bahian Carnival association devoted to research and the celebratation of black culture), the group drew 800 people to the streets in their first Carnival (1980). In the next year, they already had 2,000 affiliates. In 1983, the group constituted the Grupo Cultural Olodum. Neguinho do Samba joined the group that year as mestre (master) and is the figure responsible for the winning combination of samba and reggae that characterizes the group's musical approach. In 1984, Olodum was acknowledged as a state public utility organization, had 3,000 people parading in their bloco, was featured in the documentary Carnival Bahia. In 1987, their first LP, Egito, Madagascar, made a hit with "Faraó," by Luciano Gomes dos Santos, and sold more than 50,000 copies. Two years later, the group did their first performances in Europe and, in the next year, played again in Europe and in Japan, Argentina, and Chile."
-snip-
Yoruba is an ethnic group from Nigeria, West Africa. Click the "orisha" tag below for pancocojams posts about Yoruba orishas (orisas).
Notice that the colors that Olodum uses for their drums and clothing are red, gold (yellow), green, and black colors. This choice of colors is significant as red, green, and gold are the colors of the pan-African flag.
****
Excerpt #2
From https://en.wikipedia.org/wiki/Olodum
"Olodum is a bloco-afro from Salvador's carnival, in Bahia, Brazil. It was founded on April 25, 1979 during the carnival season as a leisure option for residents of Maciel-Pelourinho, guaranteeing them the right to play at the carnival in one block and in an organized manner. It is a non-governmental organization of the Brazilian black movement. Its headquarters are located in the historic center of Salvador, Pelourinho, which hosts most of its presentations. Its CEO is João Jorge Rodrigues.
Olodum develops activism to combat social discrimination, boost the self-esteem and pride of African-Brazilians, and defend and fight to secure civil and human rights for marginalized people in Bahia and Brazil. Currently[when?], it has a social project called Escola Olodum (Olodum School).
Just after, Olodum started to be known in the entire world as an African-Brazilian percussive group and performed in Europe, Japan, and almost all of South America. In 1988, Simone recorded “Me ama mô” live, in Pelourinho, featuring Neguinho do Samba and Olodum (this record is in Simone’s album, "Simone"). One of the biggest moments for the group was in 1996, when they participated in the Michael Jackson song, “They Don't Really Care About Us” from the album HIStory: Past, Present and Future, Book I, and the video clip was recorded in Pelourinho and Jackson also collaborated with the 200 members of the cultural group Olodum, who played music in the video.[41] The media interest surrounding the music video exposed Olodum to 140 countries around the world. It brought them worldwide fame and increased their credibility in Brazil.[42] Lúcia Nagib, of The New Brazilian Cinema, said of the music video:. After this, Olodum recorded with famous artists from Brazil and abroad, such as Wayne Shorter, Paul Simon, Jimmy Cliff, Herbie Hancock, and Caetano Veloso. In 1996, the band appeared in Heavy Metal band Sepultura's album "Roots." In 2013, the band played live with Kimbra on Rock in Rio's sunset stage, performing a cover of "They Don't Care About Us." Beyond that, they participated in the official song, consequently in the opening, of the FIFA World Cup 2014, with rapper Pitbull and singers Jennifer Lopez and Claudia Leitte. Parallel to the artistic success, the band takes part in social movements against racism and for civil and human rights.
[...]
Escola Olodum (Olodum School)
Since October 25, 1984, the Escola Olodum (in English, Olodum School) is a real space for participation and expression of African descent community, becoming a national and international reference for innovation in working with art, education and cultural diversity.
The Escola Olodum reveals magnitudes beyond the touch of the drum, with activities that aim to enhance the potential of children, adolescents and young people through languages that enable social and digital inclusion, working alongside the issue of ethnic and cultural citizenship.
This pioneering project of Brazilian African popular education originated in the Rufar dos Tambores project, developed in 1984 by Olodum, composed of free classes of African block percussion, and African courses - Brazilian short-lived.
Initially aimed to answer a request Maciel / Pelourinho community to be formed an integrated percussion band for children and adolescents of the neighborhood, but currently has students from throughout the city of Salvador.
It offers percussion courses (theory and practice), popular song (theory and practice) and African dance. Entries are made annually for children and adolescents aged 7 to 14 years."...
****
SHOWCASE VIDEOS
Example #1: Olodum - Oh Berimbau!
Uploaded by maxten on Mar 2, 2009
Oh berimbau
pedaço de arame pedaço de pau
juntou com a cabaça virou berimbau
-snip-
From http://en.wikipedia.org/wiki/Berimbau:
"The berimbau... Brazilian Portuguese... is a single-string percussion instrument, a musical bow, from Brazil. The berimbau's origins are not entirely clear, but there is not much doubt about its African origin, as no Indigenous Brazilian or European people use musical bows, and very similar instruments are played in the southern parts of Africa. The berimbau was eventually incorporated into the practice of the Afro-Brazilian martial art capoeira, where it commands how the capoeiristas move in the roda."
****
Example #2: Batucadas do olodum (BAHIA,SALVADOR)
Uploaded by MyRockpower on Sep 3, 2009
-snip-
Here's information about the meaning of the Portuguese word "batucada" from http://en.wikipedia.org/wiki/Batucada:
"Batucada is a substyle of samba and refers to an African influenced Brazilian percussive style, usually performed by an ensemble, known as a Bateria. Batucada is characterized by its repetitive style and fast pace"
****
Video #3: Olodum Salvador Bahia HD
Uploaded by MrRonny63 on Feb 12, 2011
-snip-
Here are four English language comments from that viewer comment thread:
1. "michael jackson's song THAY DON'T CARE ABOUT US !! :)"
-BIRDANGAL; December 2012
**
2. "@BIRDANGAL actually, it's one of the original beats created by the "olodum movement" that was born in Salvador da Bahia, Brazil. And no, the beat from MJ song is different, if you listen carefully. Check "Paul Simon Obvious Child" (that was released in 1990, meaning 15 years earlier than MJs) and there you will find this exact beat!"
-MrBrunoLKSl, December 2012
**
3. "Has nearly the same ritm as paul simon the obvious child. Very nice done. Nice hd video too. super! Greetings from holland."
-ghj9018 February 2012
**
4. "@ghj9018 Paul Simon borrowed the rythm from Olodum, actually, and it was Olodum that did the percussion for the song to which you are referring. They are awesome!"
-quackzinho ; February 2012
****
Video #4: OLODUM CARNAVAL 2011 - RITOS DOGONS
Uploaded by marlinh0 on Oct 19, 2011
****
Video #5: Olodum batuque bom
Andréia Rabello, Published on Jun 15, 2014
Este vídeo foi feito na época da Copa do Mundo de 2014, estava acontecendo uma transmissão ao vivo para a SPORT TV. Eu tive o privilégio de registrar este momento mágico, O Grupo Olodum é fantástico... Bahia encantada, pessoas, cor, som, vida!!!
This video was made at the time of the 2014 World Cup, there was a live broadcast for SPORT TV. I had the privilege of registering this magical moment, The Olodum Group is fantastic ... Bahia delighted, people, color, sound, life !!!
-snip-
Here are selected comments from this video's discussion thread, with numbers assigned for referencing purposes only. Translations from Portuguese to English are given via Google translate.
1. Wilmer castillo saucedo, 2014
"buenos cortes , aunque tengo una pregunta como hacen para que los tambores tengan distinta afinacion , si son del mismo tamaño y como se llaman dobladas o surdos de medio ?"
-snip-
"good cuts, although I have a question how they do so that the drums have different tuning, if they are the same size and as they are called bent or half surdos?"
**
REPLY
2. layon santos, 2014
"cada tambor tem um tipo de couro um mais fino e outro mais grosso"
-snip-
"each drum has one kind of leather one thinner and one thicker"
**
REPLY
3. layon santos,2014
"e tambem fai da bequeta de tandor quanto mais macia mais grave quanto mais dura mais agudo"
-snip-
and also fai the tandor bequeta the softer the more severe the longer the sharper
-snip-
I don't speak Portuguese but I think that this refers to how the drum sounds being determined by how the drummer beats the drum.
**
REPLY
4. Wilmer castillo saucedoM 2014
"gracias muchas gracias =) obligado"
-snip-
"Thank you very much =) obliged"
**
REPLY
5. bossa nova jazz, 2014
"+Wilmer castillo saucedo mentira..los tambores cambian de afinación por apretar tornillos no por las mazas o por el grosor del parche.."
-snip-
"+ Wilmer castle saucedo lie .. the drums change tuning by tightening screws not by the mallets or by the thickness of the patch .."
**
REPLY
6. Wilmer castillo saucedo, 2014
"gracias bossa mnova jazz, eso tambien es cierto, sin embargo creo que el tamaño de la maza tambien importa en el sonido"
-snip-
"thanks bossa mnova jazz, that's also true, however I think the size of the club also matters in the sound"
**
7. Adolfo Oliveira, 2015
"Esse som é vida!, ÁFRICA/BRASIL/BAHIA=SHOW!"
-snip-
"This sound is life !, AFRICA / BRAZIL / BAHIA = SHOW!"
This pancocojams post is Part III of an ongoing series that presents quotes from various online articles that provide information about the meanings of certain colors, designs, and objects in specific traditional African cultures.
The excerpts in this post provide some information about Olodumare and Obatala (Oxalá) and the color white in Yoruba traditional religion and in the Santeria and Condomble religions which it has influenced/influences.
Eight videos are also included in this post. These videos are from Nigeria, Brazil, Cuba, Trinidad & Tobago, and the United States.
Use pancocojams' internal search engine or click the "the meaning of colors in traditional African cultures" tag below to find other pancocojams posts on this subject.
The content of this post is presented for folkloric, cultural, and aesthetic purposes.
Thanks to the researchers who are quoted in this post. Thanks also to the publishers of these videos on YouTube.
****
EXCERPTS ABOUT OLODUMARE AND OBATALA AND THE COLOR WHITE
Pancocojams Editor's Note:
With the exception of the Excerpts given as #1 and #2, these excerpts are given in no particular order and are numbered for referencing purposes only.
I added italics to highlight statements in these excerpts about the color white.
EXCERPT #1
From https://en.wikipedia.org/wiki/Yoruba_religion
"The Yoruba religion comprises the traditional religious and spiritual concepts and practices of the Yoruba people. Its homeland is in present-day Southwestern Nigeria and the adjoining parts of Benin and Togo, commonly known as Yorubaland. Yoruba religion is formed of diverse traditions. It has influenced a host of thriving traditions such as Santería, Umbanda, and Candomblé.[1] Yoruba religious beliefs are part of Itan, the total complex of songs, histories, stories, and other cultural concepts which make up the Yoruba society"...
****
EXCERPT #2
[Pancocojams Editor's Note: In this pdf file page numbers are given at the bottom of each page.
I corrected some obvious typographical errors in this quoted excerpt of this pdf file.]
Ritual Sanctity
This has to do with the various taboo in connection with the administration of the various rituals and rites that constitute Yoruba traditional religion. This can also be called ritual holiness. The taboo are what the Yoruba call eewo, a ku see, ohun.
Each ritual has its taboo that should be avoided by the priest-king, Olofi dwon [woro, other priests, [woro or Abore, and the worshipers. For examples the priests and devotees of the god called Esu should avoid having any contact with palm nut oil (Yoruba: adi) in order not to incur the wrath of Esu. Moreover, the priests and devotees of the arch-divinity of Yoruba pantheon, Obatala, should avoid palmwine completely in order to maintain ritual sanctity with regard to the worship of Obatala. They should also promote anything white and avoid black items in order to keep the ritual sanctity in connection with the worship of the divinity. ·White is a symbol of purity, holiness and peace. So, priests and devotees of Obatala should, during ritual activities, present themselves as'pure and holy.
[page] 164
[...]
Let us start with the ritual in connection with the worship of God - Olodumare and gods - Orisa. There is a specific cult of Olodumare in Yorubaland. This may baffle those foreign arm-chair investigators who hold the thesis that Olodumare is not an object of worship in Yoruba religion. The point here is. because 016dumare cannot be confined into space (the Yoruba described Him as A-te-rere-K'aye - One who occupies the whole extent of the world); the ritualistic worship offered to Him takes place in the open and not in building like temples and mosques. The worshiper makes a circle of ashes (Yoruba: eeru) or white chalk (Yoruba: efun); within the circle, which is a symbol of eternity, he pours a libation of cold water, and in the centre he places his kolanut (Yoruba: obi on cotton wool- Yoruba: owu etUtu). He then takes the kolanut, splits it and holding the valves within the circle. Often, a white fowl (Yoruba: adiefunfun) is offered in the same way. In lle-Ife, the ancestral home of the Yoruba, there is a priest-chief whose duty is to offer this ritual every morning in the name of the Doni and of all the people. However, it is unfortunate to note that the direct ritualistic worship of 0lodumare, as a regular aspect of cultic
activities in Yorubaland, is dying out. In some places, according to Bolaji Idowu, it is no longer known; in some, it has become the cult of women.
[...]
[page] 165
[...]
The Yoruba used wood and metal carvings, plants and animals as symbols of gods and ancestral spirits. Before we go further, iris important to note that, as said earlier, these symbols are not ends in themselves but means to certain ends. Thus those who are out to conduct a genuine research into the religious situation in Yorubaland should not take appearance for reality, means for an end, symbol for the symbolised and reality for shadow.
Divinities and ancestors are sure objects of worship and reverence among the Yoruba. However, it is to be noted that they are a means to get to Olodumare - God, the ultimate End of everything. The Yoruba 'have never made the mistake of putting God, Olodumare, on the same pedestal with the divinities (arisa) and the ancestors.
In their belief, 0lodumare is unique, incomparable. The. uniqueness of Olodumare is one reason why there are no images-graven or in drawing or in painting - of Him in Yorubaland. Symbols there are copious, but no images of Him. Symbols or images of deities or divinities abound in Yorubaland. Orisa'nla, the arch-divinity of Yoruba pantheon is usually pictured as an ancient figure in white and bedecked with white
[page] 168
ornaments. His temple, especially the inside, is washed white, his emblems are to be kept in white containers and consists, among other things, of white chalk and white beads. His priests and priestesses are robed in white and wear white ornaments.
Those who do not understand the religion of the Yoruba might think that the items are the things that matter here. This is patently wrong. The message here is that all those white items point to Orisa-'nla as presenting, to the Yoruba, the idea of ritual and ethical purity, and therefore the demands and sanctions of high moral pattern.
The white items are mere symbols symbolising purity, holiness, cleanliness on the part of the ritual leaders and the worshipers of Orisa- 'nla.”
[page] 169
[...]
Concluding Remarks
So far we have been able to give a broad survey of rituals, symbols and their implications in Yoruba traditional religion. It is seen in the paper that the idea of the supreme Being, called 0lodumare in Yoruba religion, is central in and crucial to Yoruba belief system. We have seen this rituals, symbolism and symbols have ultimate reference to Olodumare who is believed to be the Maker,the Creator, the Owner of Life.
It is also made clear in the paper that the Yoruba are not worshipers of woods, plants, animals and so on as erroneously conceived by some foreign researchers.
Rather, they employ those items to give some kind of concrete and objective reality to their religious dreams and aspirations. Thus all items in their religious thought, apart from the supreme Being, are a means to an end, the end itself being the supreme Being known as 0lodumare, Oluwa; Olorun, 0lofin drun, EImaa. Those who do riot know but are ready to learn and know should realise that in all things the Yoruba are religious. The focal point of their religious aspiration is God. It would be proper then for those who want to conduct a genuine research into the traditional religious thought of the Yoruba to avoid prejudice and preconceived notion and show extra caution, openness and sympathy by calling the Yoruba what they actually call themselves. There is no point pontificating on items that are alien to one. Such would lead one to commit academic fallacy that does not augur well for true scholarship.
Obatalá (also spells Obbatala or Obatala) is the eldest of the orishas in Santeria and king of the religion in orun (heaven). He is also the father of many of the orishas and as such is given great respect and deference by the other orishas in matters of great importance. He also acts as the “referee” or judge when the orishas have quarrels, working to restore and preserve peace at all times. To reflect his place of importance in the Lukumí pantheon, Obatala’s shrine is always placed higher than any other orisha in the home. Obatala is the owner of all heads, because it is said that he molded the bodies of humans before Olodumare breathed life into them. As such, Obatala protects all people, and acts as a guardian for those who do not yet know who their guardian orisha is.
Obatala encourages us to be patient and to handle matters with calm and reason. His ashé (power) is perfectly embodied within his favorite color: white. He is always dressed in white and all of his offerings are white to reflect his spiritual purity and the coolness of his energy. White is our most sacred color in Santeria because it represents Obatala. When olorishas attend ceremonies we wear white clothing as holy vestments and to surround ourselves with Obatala’s protective energy. Iyawos (new initiates) in Santeria have to wear white clothing from head-to-toe for a year for the same reason: as a symbol of purity and as an energetic protection against osogbo.
Obatala along with Oshun, Yemaya and Changó is one of the four pillar orishas that every olorisha receives at his kariocha initiation. Obatala is unique in that half of his roads are female and half are male. In that sense Obatala transcends gender, further demonstrating his ability to act impartially in orun (heaven) and with the orishas. If there is ever a debate about who a person’s guardian orisha is, they can safely be initiated with Obatala as he is the owner of all heads. Obatala is often depicted as elderly, with a full head of white hair, dressed in white robes.
Symbols, Numbers, Colors and Attributes of Obatalá
Obatala’s eleke is always made with white beads. This unique Obatala eleke has mother-of-pearl and purple beads added for the road Oba Moro.
Number: 8
Sacred Place in Nature: hills, mountains or high places
Color: White
Tools: A horsetail fly-whisk (some roads use a sword or cane)
Temperament: Calm, reasonable, quiet (some roads, like Ayáguna are youthful and fiery)
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EXCERPT #4
From https://lukumipeople.wordpress.com/2013/04/01/the-orisha-who-do-you-most-identify-with/
The Orisha, Who Do You Most Identify With?
"In the Yoruba based religions, the Orisha are angelic emanations of The Creator (God Almighty) manifesting through nature. To put it simply, God created the universe and everything in it. God then manifested bits of himself creating lesser gods or guardian angels, governing over the various forces of nature. So yes, for every force of nature, there is a spiritual being governing it.
[...]
Obatala’s day is Sunday.
The day for settling differences. Useful for long-range planning and the perfect day for the preparation of amulets and charms for longevity and good health.
Obatala is the Father of the White Cloth, Peace, Calm. His domain is the Sky, Clouds, Mountaintop."...
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EXCERPT #5 Santeria: The Beliefs and Rituals of a Growing Religion in America
https://books.google.com/books?isbn=0802849733
Miguel A. De La Torre - 2004 - History white dove is a symbol of Obatala, and for this reason he is petitioned for peace when his fellow orishas act cruelly toward humans. While Obatala has been revealed through several Catholic saints, he is best known as Our Lady of Ransom. (As mentioned earlier, crossing between genders is common among the orishas.”...
Obatalá (Obbatalá) is called the creator of earth and the sculptor of mankind because he was given this job by his father Olodumare, the supreme God in the Lucumí pantheon....
Obatalá is the owner of all things that are white, as well as the human head and all of its thoughts and dreams. He also owns silver and white metals, and the ceiba tree. Obatalá likes cotton, cocoa butter, cascarilla (powder made of egg shells), marble eggs, and snails. As tribute, he likes merengues, white rice, white custard, rice pudding, black eyed peas, fruits with a grainy texture like pomegranates, pears and custard apples, roasted ñamé (sweet potato) and malanga (taro root). Obatalá's food can never be salted. He's an Oricha who came directly to earth from heaven as the son of God, specifically Olodumare and Olofi. He was sent to earth to do good and govern as the king of the planet. Obatalá is calm, wise, understanding, and he loves peace and harmony. He demands proper behavior from his children and, out of respect, they obey him. No one can swear or blaspheme in front of Obatalá, and no one should appear naked in his presence. He hates alcohol and prohibits his children from drinking it. He always dresses in white, and his eleke (beaded necklace) is also white. He lives in a white porcelain sopera (soup tureen) kept on the altar of the home."..
In the Americas
Santería
Obatalá (also known as Ochalá or Oxalá; Orichalá or Orixalá) is the oldest "Orisha funfun" ("white deity"), referring to purity, both physically and symbolically as in the "light" of consciousness. In Santería, Obatalá is syncretized with Our Lady of Mercy and Jesus Of Nazareth.
Candomblé
In Candomblé, Oxalá (Obatalá) has been syncretized with Our Lord of Bonfim; in that role, he is the patron saint of Bahia. The extensive use of white clothing, which is associated with the worship of Oxalá, has become a symbol of Candomblé in general.[2] Friday is the day dedicated to the worship of Oxalá. A large syncretic religious celebration of the Festa do Bonfim in January in Salvador celebrates both Oxalá and Our Lord of Bonfim; it includes the washing of the church steps with a special water, made with flowers."...
The best time to visit the Brazilian city of Salvador, the capital of Bahia, is in the summertime, between the months of December and March. At this time the city is on fire with religious, folk, and popular festivals all filled with music, food, drinks, água de cheiro (perfumed water), flowers, dancing and happiness. Almost every weekend in this time frame there is either a lavagem (ritual washing of a church which culminates into a party) or a Candomblé `beating of the drums' (a ceremony in the Nigerian Yoruba religion of Candomblé). The three most popular festivals are: the Lavagem of the Church of Nosso Senhor do Bonfim, the Festa of Yemanjá (Yoruban Goddess of the Ocean) and of course, Carnaval. (Pravina Shukla)
Bonfim Festival (Lavagem do Bonfim) is one of the biggest events in Salvador. The Catholic celebration starts at Nossa Senhora da Conceição Church, with devotees wearing white clothing, beads and carrying the important vases containing perfumed water along with beautiful flowers before heading to Nosso Senhor do Bonfim Church, which is the best known in Bahia State and an important symbol for locals. The festival honors Senhor do Bonfim (associated with the important orixá Oxalá, by Candomblé - Nigerian Yoruba religion - whose color is white).
[...]
The annual and popular Lavagem do Bonfim festival is attended by thousands of people who come to not only take part in the ritual blessing but to also join in the celebrations afterwards.
The procession travels for about 10 miles to the Church of Bonfim where even more spectators are gathered, eagerly awaiting the blessing that takes place there. During the blessing, the perfumed water that has been so carefully carried is subsequently poured over people's hands and on their heads.
[...]
The steps of the Church of Bonfim are also cleaned with the perfumed water as part of the ritual cleansing of the church. At this point, all sing the anthem of Senhor do Bonfim and it is after this event that the street parties often begin and contain plenty of music entertainment, singing and dancing not to mention plenty of street vendors to help keep everyone going. People go to the booths by the Church of Bonfim to eat and drink. There's dancing on the streets, among the traditional booths of Baianas selling acarajé (West African food made of black eyed peas fried in palm oil).
[...]
One popular tradition is to have a Bonfim ribbon tied around your wrist and to make a wish, if the ribbon wears off naturally then it is believed that your wish will come true.
[...]
This festival takes place usually the second Thursday of January every year. This ritual has been occurring in Salvador since 1754.
There are also horse-drawn carriages, musicians, as well as government officials, including the mayor of Salvador. The Carnaval group Filhos de Gandhy (Son of Gandhi), who traditionally lead the procession, march right behind the Baianas all the way to the Church of Bonfim."...
-snip-
This article includes a number of photographs. One of the photographs about Bonfim, shows that Bonfim ribbons can be of any color, including white.
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SHOWCASE VIDEOS
Example #1: Ilu Aye - Obatala video by DennisFlores.com
Dennis Flores. Published on Mar 26, 2006
ILU AYE (Literally, "The Drum of the World" in Yoruba)was founded in 2004, to celebrate the connections between the peoples and cultures of the African Diaspora. Bringing together the next generation of Afro-Puerto Rican, -Dominican, and -Cuban percussionists and singers, ILU AYE is dedicated to preserving and promulagting the rich cultural legacy of Africa in the Americas and the Caribbean, through performance, educational workshops, and community-centered gatherings where the rhythms of the African Caribbean reign. Trained by master musicians from all three islands, and versed in sacred and popular rhythms such as bata, guiro, rumba (Cuba); bomba and plena (Puerto Rico); and palos, salves, and kongos (Dominican Republic), ILU AYE interprets traditional songs and reinvigorates the genres with original compositions by renowned akpwon, Osvaldo "Bembe" Lora....
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Example #2: Orisha Dance
Baba Abayomi, Published on Jul 20, 2007
Song and Dance For Orisha Obatala from 17th annual African Street Festival.
-snip-
Here's a comment from this video's discussion thread about this African Street Festival:
rbso6, 2009
"this was at the Annual African Street Festival in Brooklyn sometime in th 80's This the Afrtican Traditional Religion of Ifa. They are singning for the various orisas. This song is for Obatala."
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Example #3: Obatala and Oshun Festival 2009 Part II of III
Iya Fayemisi Shangobukola, Published on May 13, 2009
Obatala and Oshun Festival 2009 Part II, Ode Remo, Ogun state, Nigeria.
African Traditional Isese Festival.
During this Yoruba festival the followers worship Orisa Obatala and Oshun with dances, songs and traditional donations. This festival took place in February - March, 2009 in the Ode Remo town, Ogun state, Nigeria.
The organizator of this festival is IyalOrisa Iya Afin Iyedola Onajoko Oduwole Sokunmbi, among with the female community of Obatala priestesses.
-snip-
Here's some information about Osun from http://www.ancient-origins.net/myths-legends-africa/oshun-african-goddess-love-and-sweet-waters-002908
..."Although Oshun (also spelt Osun) is regarded principally as a goddess of love, there are other aspects to this Orisha as well. One of the most important roles that Oshun plays is that of the goddess of the sweet waters and the protective deity of the River Oshun in Nigeria....
Although Oshun governs love and the sweet waters, she is also regarded as a highly benevolent deity. Oshun is said to be the protector of the poor and the mother of all orphans. It is Oshun who brings to them their needs in this life. Additionally, Oshun is regarded as a healer of the sick, the bringer of song, music and dance, as well as prosperity and fertility. Oshun is also depicted as a teacher, who taught the Yoruba agriculture, culture and mysticism. She also taught them the art of divination using cowrie shells, as well as songs, chants and meditations taught to her by her father Obatala, the first of the created Orishi."...
-snip-
Osun's color is honey yellow.
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Example #4: Nigeria- Obatala Shrine in Ile Ife
This pancocojams post provides several article excerpts about Cuban (Lucumi) Bata Drums. This post also showcases five videos of Cuban (Lucumi) bata drums.
The content of this post is presented for cultural, religious, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to all those who are quoted in this post and thanks to all those who are featured in these videos.
Thanks also to the publishers of these videos on YouTube.
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INFORMATION ABOUT BATA DRUMS
Article Excerpt #1
From https://en.wikipedia.org/wiki/Bat%C3%A1_drum
"A Batá drum is a double-headed drum shaped like an hourglass with one end larger than the other. The percussion instrument is used primarily for the use of religious or semi-religious purposes for the native culture from the land of Yoruba, located in Nigeria, as well as by worshippers of Santería in Cuba, Puerto Rico, and in the United States. The Batá drum's popular functions are entertainment and to convey messages. Its early function was as a drum of different gods, drum of royalty, drum of ancestors and drum of politicians. Batá drum impacted on all spheres of life.[1]
The Lukumí (or commonly called santería) religion and Batá drums are closely associated. The drums are played simultaneously (often with a rattle or "atchere") to create polyrhythmic compositions, or "toques" during santería ceremonies. A ceremony with batá drums is generally known as a "toque," "tambor de santo," or "bembé," but ceremonies can also be accompanied by shaken gourd-rattle "chékere" (in English "shekere") ensembles (usually with tumbadora, also called conga drums). There are estimated to be at least 140 different toques for the spirits (saints, or santos) and their different manifestations. There are two important "rhythm suites" that use the sacred batá drums. The first is called "Oru del Igbodu" (a liturgical set of rhythms), alternatively called "Oru Seco" (literally "Dry Oru", or a sequence of rhythms without vocals), which is usually played at the beginning of a "tambor de santo" that includes 23 standard rhythms for all the orishas. The selections of the second suite include within them the vocal part to be performed by a vocalist/chanter (akpwon) who engages those attending the ceremony in a call-and-response (African) style musical experience in which a ritual is acted out wherein an "initiate" (one who through the great spirit Añá is granted the ability to perfectly play the Batá drums) plays the new Batá set, and thereafter is introduced to the old Batá set. This is said to "transfer" (through the initiate) the spirit or Añá of the drums from the old set into the new set.
Certain long-standing rules and rituals govern the construction, handling, playing, and care of the sacred batá: traditionally only non-castrated male deer or goat hide was used—female goats along with bulls, cows, and sheep were considered unsuitable; also only an initiate was considered worthy to touch or play the batá as only they have undergone the full ritual of "receiving Añá" granting them the forces deemed necessary to play the drums. Also, before a ceremony, the drummers would wash themselves in omiero, a cleansing water, pray, and for some time abstain from sex.
Also traditionally in Cuba, in Havana the batá are rarely played after sundown, while in Matanzas toque ceremonies often begin at night."...
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Article Excerpt #2
From https://translate.google.com/translate?hl=en&sl=es&u=http://www.proyecto-orunmila.org/index.php%3FItemid%3D82%26option%3Dcom_dictionary%26view%3Ddictionary%26change_css%3Dbrown&prev=search Santería, Vocaburaio Lucumí, Dictionary [Translated from Spanish to English, given as it was found on that page] *
"Bata
(Ortiz). "According to the Yoruba dictionary of Oxford, batá is a drum used by the faithful of Changó and Egungun." "They are three drums of a religious character, used in the ceremonies of the cults practiced by the Lucumí or Yorubas and their Creole descendants. The orchestra lucumí or is the one of the batá or the one of the agbe or chekeré. Drum! Skin! Leather! Sandal. The three drums of the Yoruba liturgy are properly called the "aña" or "añá" and the profane name of ilú ".
Waiting for a better opinion, we assume that the word aña or añá is creole or dialectal corruption of the Yoruba voices "dza" or "dya", means "to war" and also "to rage a storm". The prefix "a" forms nouns with a verbal root; For that reason, it is the supernatural power of the Bata, and it is the supernatural power of the Batá, That defends them, thunders and fights against their enemies ". "Aña is a mysterious object with sacromagic power that is introduced into the closed resonant boxes of the batá drums, when they are built and consecrated." "The knowledge of this cryptic name has in itself a certain sacromagic power that the" olori "or musician employs to dominate his instrument." The "secret" or buzzing of the batá is precisely what is called. Ilú áña or batá is the drum when he is "sworn". Aña is the "guard," "spell," "fetish," or magic that enshrines them. It is the "secret" of the god Aña. "To make a batá game that is" grounded "or" Aña ", it is necessary to consecrate a priest who has" Aña "and can transmit it ... Its creation is in the exclusive faculties of the" olosaín "Or priests of Osaín, the god of the trees and plants or of its magical and medicinal forces".
"Aña iggilú nitín chouó", they pray to him to give food to the olú by the ring of the edge of his chacha. Which seems to be Creole corruption of Aña igguí ilú gui tichouón or translated "Aña, from the tree tambor made the speech was precious." Synonymy: batá. Battá, ilú batá. Ilú áña, bata áña, Onibatá, onilú.
The smallest drum is called Kónkolo, Okónkolo, and generally also Omelé. The median drum, or second by its size, is known by Itótele or Omeló Enkó. The word Itótele may come from the Yoruba voices: "i", a prefix to denote nouns of action "," totó " "Kónkolo" (the real name) or Okonkolo as it is usually said, seems to have been derived from the word Yoruba: Kónkoto "god" Or toy of the children ", alluding to the fact that the Kónkolo is the smallest of the sacred batá, the baby, or boy, as well as iyá is the major or the mother.
Kónkolo more probably had to be formed by" kon " Singing with repetition of the root in a repetitive sense, and what, like lu, means "to beat a drum or to sound a musical instrument". "Sometimes the drums falter, the weariness is noticed in their touch, then some of the listeners shout to them" Omleh, so that all of them may revive their energies. "In yoruba omé lé can mean" Boys, strong! The omelé voice could come from another "child" and "strong", "over others". The Kon kolo u omelé is in fact the smallest of the batá, that is to say the "boy" and also the one that gives in his small leather the highest note of the batá. ""
The membranes of the batá are of skin Of goat or deer. "Each drum has two mouths (enú) covered with leather (auó)." Specifically, the big auó is called enú, which in Yoruba means "boca" ...; And the small auó is called chacha. Voice onomatopéyica that in the native vernacular translates freely by "butt". Chachá is not synonymous with leather or membrane of ilú. "In the batá orchestra, the iyá occupies the center, the omelé is invariably placed on the right side of the iyá and itótele on its left side, even though the Kpuátaki is left-handed and plays the chacha with the right."
The batá are never played after sunset. It is said by a Lucumí song: "Orú dié aña ko ofé soró" (Night, little year, does not want to speak) ... "These ornaments of shawls and handkerchiefs in the batá are denominated alá". "In addition to the common alá, the batá aña are exceptionally dressed in a special liturgical garment, which in Cuba is called banté and in the land of Yoruba ibanté Ibanté means" apron. "(The ibanté salalá was used by kings or priests "By the manipulation of the oracle this designates the name to be taken by the trio of batá, according to the" road "or the Odun that comes out when the pieces of divination fall at random. Here are some of the sacred names that have the batá of some famous tamboreros of Havana and its region: Aña Iguilú (something like "drums of hauled wood") .
Añabi (son of Aña) is name of the batá. .. (de) Aguía batá. Other batá titles are Akoba Aña ("the first son of the drum") and Aiguobí (son of the music or the bulla). Recently, a trio of batá was baptized with the name encomaystic of Alayé, that in Yoruba means "Master of the World". There are batá Jews and they also have name. One of these is called Iraguó Méta ("Three stars"). Another, quite imperfect, Lulú Yonkóri ("Touch and song"). Ko bo ko gua ("not for worship, do not come"). Another very insulting, says Oró tin Ochú Kuá bi oré. Which seems to mean "Deception! They made you into a new moon, born of a gift or mercy." And another was given a more repugnant title ... Olomí Yobó, "Flow or menstruum of the vulva". The drums being "jurados" with sacerdotal hierarchy, acquire a name like the olochas and the babalaos. Okilákpa, Strong Arm. Omó Ológun, Son of the Master of Magic. E Goal Lókan, Three in one. Obanilú, King of the drum. Eruáña, Slave of Aña. Otobike, Omó gugú, Yóboyobo, etc.
The orú of the batá is a kind of musical hymnal that is called in honor of the orichas; Previously in the "room", tabernacle or igbódu; First without songs and only with drumming, and then with the accompaniment of the liturgical chant and the dances in the ille aránla. Special touches are many and each has its name. Aluyá, the one dedicated to Changó and Oyá, very alive and that dances "removing the foot". Báyuba, also of Changó and Oyá, slow, complicated and "very moved of waist". Kankán, from Changó with many foot movements like "kicking a stone". Tuitui, also for Changó with ballroom dancing. Aláro, in salutation to Yemayá. Apkuápkuá, a kind of shoe for the same goddess. Chenché Kururu, in honor of the goddess Ochún. Ayálikú, rhythm and sad and funerary tones, inspiration of Oya, goddess of death. Aggueré, a clash, a percussive frenzy in the chacha, dedicated to Ochosi. And so many more, innumerable."
-snip-
*This entry is reformatted in this post to enhance its readability.
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SHOWCASE VIDEOS
Example #1: Bata drumming instructional DVD from Matanzas, Cuba
earthcds, Uploaded on May 21, 2007
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Example #2: Bata Drumming in Havana, Cuba, Rhythm Traders Roadtrip
Rhythm Traders, Uploaded on Jul 12, 2008
Miguel Bernal and his group demonstrate bata drumming and orisha chants at his home in Havana, Cuba
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Example #3: Oshun Dance and Bata drumming by Raices Profunda Havana Cuba 1985
Michael Pluznick, Published on Jul 30, 2012
Oshun Dance and Bata drumming by Raices Profunda from my first trip to Havana Cuba 1985
-snip-
From http://www.aawiccan.org/site/Oshun.html
"The Yoruba goddess Oshun is also known as Yeye. Her name is synonymous with transformation.
Oshun, also spelled, Osun, Oxun, Oshoun, Oxum, Ochun, is given hale because She rules the rivers that sustain life. Her realm also contains the aspects of love, flirtation, sensuality, beauty and the arts. Her priestesses dance to the rhythms of the streams, rivers, lakes and waterfalls in which She rules, and that carry Her voice with the sound of the waters."...
-snip-
"goddess"= The Nigerian (Yoruba) word "orisa" [orisha] and the Cuban Lukumi (Santaria) word "oricha".
-snip-
Click https://www.youtube.com/watch?v=giYKJxrTAcU for the previously showcased video:. Among other scenes from a contemporary Cuban santeria bembe (religious gathering), that video shows the lead singer checking his cell phone in between songs.
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Example #4: ORO SECO - 'Lukumi', Dominic Kirk, Yosvani. La Habana, 2013
Dominic Kirk , Published on May 6, 2013
Tambores Bata tocando el 'Oro Seco' completo. La Habana, Cuba, 15/1/13
Iya/Mayor - Michael 'Lukumi' Herrera Duarte,
Itotele/Segundo - Dominic Kirk,
Okonkolo - Yosvani Diaz,
-snip-
"Tambores Bata tocando el 'Oro Seco' completo= (From Spanish to English): Bata drummers perform the complete "Oro Seco".
-snip-
"Oro" is a Spanish word meaning "gold". Google translates gives the English meaning of "oro seco" as "dry gold". However, the word "oro" may be a Spanish adapted form of the Yoruba word orú, meaning "night".
Notice that "oru" is given in the article excerpts that are quoted in this post. For instance, here's information about oru seco from the excerpt given above as Article Excerpt #1:
"There are two important "rhythm suites" that use the sacred batá drums. The first is called "Oru del Igbodu" (a liturgical set of rhythms), alternatively called "Oru Seco" (literally "Dry Oru", or a sequence of rhythms without vocals), which is usually played at the beginning of a "tambor de santo" that includes 23 standard rhythms for all the orishas."...
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Example #5: Chachalokuafun, Bata drums, Havana Cuba
This post provides information about the folk character "John The Conqueror" and John The Conqueror roots in African American folk culture. This post also showcases the Blues song "My John The Conqueror Root".
The content of this post is presented for folkloric, cultural, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to all those who are quoted in this post. Thanks also to Willie Dixon, composer and Muddy Waters, performer of the song "My John The Conqueror Root". Thanks also to the publisher of that song on YouTube.
"As an amulet, JOHN THE CONQUEROR ROOT has no equal. It is used for Drawing Luck, gaining Mastery, and Strengthening Male Nature. We make a dressing oil from chips of the root, and incorporate it into sachet powders, incense, and crystals for bath or floor wash. All our JOHN THE CONQUEROR supplies contain pieces of real root!"
-- The Lucky Mojo Curio Co. catalogue
"High John the Conqueror root is one of the staples of African-American folk magic. Its use in mojo hands is as ubiquitous as its qualities are varied, and its very name signifies power and prosperity to many.
Who was John the Conqueror and what is the root named after him? Ethnographers, especially those influenced by Zora Neale Hurston, say that he was a black slave whose life -- perhaps a real life that was embellished in the telling, perhaps a fictional life entirely imagined -- was an inspiration to slaves who wanted to rebel against their masters but could not do so openly. John, said to be the son of an African king, was in captivity, but he never became subservient, and his cleverness at tricking his master supplied many a story with a pointed moral. If he was a real being, he soon acquired some of the characteristics of mythical trickster figures like the Native American Coyote, the African-American Bre'r Rabbit, and the West African deity known variously as Elegua, Legba, and Eshu. He gave -- only to take away. He bet -- and never lost. He played dumb -- but he was never outsmarted. The reputation of High John is so great that, as recorded by the folklorist Harry Middleton Hyatt in the 1930s, just reciting the words "John over John" and "John the Conqueror" is a powerful spell of magical protection against being hoodooed."...
There are three roots named for John the Conqueror. Each is in a separate botanical family and has a different method of use.
HIGH JOHN THE CONQUEROR ROOT
High John the Conqueror is the most prized of the three John roots. When Willie Dixon sings in "Hootchie Cootchie Man" that he has "a John the Conqueroo," he means a John the Conqueror root -- the hard, woody tuber of Ipomoea jalapa, a member of the morning glory family, and a relative of the common sweet potato. Fresh John the Conqueror root has a unique, spicy fragrance, reminiscent of a combination of cherry-scented pipe tobacco, vetivert, cedarwood, cinnamon, allspice, nutmeg, and mace. Like many other ipomoeas, some of which are psychedelic, it is rich in alkaloids, but in magical practice, the root is not ingested, probably because it is an extremely powerful laxative. Instead it is used whole -- carried on the person as a pocket piece or as an ingredient in a mojo bag, especially one designed to draw money, bring luck at games of chance, or enhance personal sexual power....
DIXIE JOHN, SOUTHERN JOHN, LOW JOHN ROOT
Southern John or Dixie John Root (rarely called "The Conqueror") is the root of the common Wake-Robin or Trillium grandiflorum and related species. These spring-flowering members of the lily family have long been used medicinally, and among Euro-American herbalists, Low John is sold medicinally under the name Birth-Root or Beth-Root and used as an aid in childbirth and with menstrual cramps. However, in African-American folk magic, Low John is not ingested. It is carried on the person, usually for help in family matters and love. …
CHEWING JOHN, LITTLE JOHN, COURT CASE ROOT
The third John root is Chewing John, sometimes called Little John to Chew or Court Case Root. This is Alpina galanga, otherwise called Galangal. It is a member of the ginger family and is medicinally used as a stomachic and carminative. In African-American hoodoo practice, its pleasant gingery taste is part of its charm and, unlike High John Root or Low John Root, Chewing John Root is actually chewed and the juice swallowed. A typical spell prescribes its use in court case magic: Chew the root, swallow the juice and discretely spit the "cud" onto the courtroom floor before the judge walks in; he will decide the case in your favour...
WORKING WITH WHOLE JOHN THE CONQUEROR ROOTS
John the Conqueror roots are primarily "male" roots because they resemble the testicles of brown-skinned men. When carried as a lucky amulet, a man's root is always whole. No African American man i know with a family background in hoodoo practice would walk into my shop and buy a broken High John root, even if it was as big as a baby's head and cost two dollars!...
How did African slaves and their descendents come to believe that the root of a wild morning glory vine native to Mexico, Louisiana, and Florida was a powerful magical herb? The answer probably lies in the little-documented but widely-acknowledged contact between captive Africans and the Native Americans from whom they acquired local botanical knowledge.
Any intelligent herb doctor or shamanic healer who was transported to a new environment would seek out a list of regional plants whose uses corresponded to the ones with which he or she was familiar. Thus, it is only reasonable to assume that Ipomoea jalapa was the designated surrogate for a West African plant with similar magical or medical properties.
The Native Americas made use of various regional species of Ipomoea both as a laxative and for magic. To the Iroquois Indians, the plant was "Man Root" or "Man In the Earth" -- and men carried it while hunting to strengthen themselves and increase their endurance. It was even said that if a man rubbed his root before hitting another man in a fight, he could kill his opponent with one blow.
Because the character of the person or mythical figure called John the Conqueror partakes of the tricksterish and way-opening qualities of the orisha and the loa known variously as Elegua, Legba, and Eshu, it is not unreasonable to search for a hypothetical African fore-runner to John the Conquer root in the herbal folklore of Africa.
It may be that there are three John-roots in the African-American hoodoo tradition because each in its own way substituted for some part of an African root that incorporated diverse qualities. That is, an African root that could be chewed for male power was analogous to the Iroquois Man Root -- except that Man Root could not be chewed, so Chewing John was added to the retinue of John Roots to cover for that aspect of the African knowledge-base. Likewise the African root was used to help women in childbirth -- so the obvious substitution by Native shaman for this would be Birth Root or Dixie John.”...
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SHOWCASE EXAMPLE
Example #1: Muddy Waters - My John The Conqueror Root
IfYouAintGotNothingYouGotNothingToLoose Published on Nov 29, 2012
The mean Muddy Waters
-snip-
This song was first recorded in 1964.
Here's two comments from another sound file of this song https://www.youtube.com/watch?v=UOP61h6cAoQ
Chris Moran, 2014
"Personnel list from liner notes:
Muddy Waters – Composer, guitar, vocals
Buddy Guy – Guitar
Sammy Lawhorn – Guitar
James Madison – Guitar
Otis Spann – Harmonica, piano (***very funny! James Cotton was under contract to another label at the time. Spann & Cotton were buds, so Spann was listed as the harp man)
Francis Clay – Drums
Clifton James – Drums
S.P. Leary – Drums
Willie Dixon – Bass
Milton Rector – Bass
Johnny Temple – Composer
J.T. Brown – Clarinet, tenor saxophone"
**
Chris Moran, 2014
"Don't forget James Cotton on harp. He doesn't get a mention because he was under contract to another record company (probably Vanguard). Also J.T. Brown is listed on clarinet and tenor saxophone. Nothing like saxophone to evoke the feeling of a "folk singer," eh?"
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LYRICS: MY JOHN THE CONQUEROR ROOT
(Written by Willie Dixon & sung by Muddy Waters)
My pistol may snap, my mojo is frail
But i rub my root, my luck will never fail
When i rub my root, my John the Conquer root
Aww, you know there ain't nothin' she can do, Lord,
I rub my John the Conquer root
I was accused of murder in the first degree
The judge's wife cried, "Let the man go free!"
I was rubbin' my root, my John the Conquer root
Aww, you know there ain't nothin' she can do, Lord,
I rub my John the Conquer root
Oh, i can get in a game, don't have a dime,
All i have to do is rub my root, i win every time
When i rub my root, my John the Conquer root
Aww, you know there ain't nothin' she can do, Lord,
I rub my John the Conquer root
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REFERENCES TO "JOHN THE CONQUEROR" ("JOHN THE CONQUEROO") IN OTHER BLUES SONGS
From http://pancocojams.blogspot.com/2012/10/muddy-waters-hoochie-coochie-man-video.html
Muddy Waters - "Hoochie Coochie Man"
"I got a black cat bone
I got a mojo too
I got the Johnny Concheroo
I'm gonna mess with you
I'm gonna make you girls
Lead me by my hand
Then the world will know
The hoochie coochie man
But you know I'm him
Everybody knows I'm him
Oh you know I'm the hoochie coochie man
Everybody knows I'm him
