Awonifa

Study the Teaching of Ifa and the Orisha's

je Shaluga is the god of Wealth, and confers riches on his worshippers. The name appears to mean either “the gainer who makes to recur,” or “the sorcerer who makes to recur.” (Aje, sorcerer; aje, earner, or gainer, and shalu, to recur.) His emblem is a large cowry. One proverb says, “Aje Shaluga often passes by the first caravan as it comes to the market, and loads the last with benefits;” and another, “He who while walking finds a cowry is favoured by Aje Shaluga.” The large cowry, emblematic of Aje Shaluga, has no value as. a medium of exchange, the small white cowries being alone used for that purpose. He is the patron of dyes and of colours generally. He came from the body of yemaya.

Yoruba Fokelore

Moremi

A NOBLEMAN of Ile-Ife had a beautiful and virtuous wife named Moremi, and a handsome young son, Ela.

The country of the Ifes was at that time subject to fierce raids by a tribe called the Igbos, who were of such an uncanny appearance in battle that the Ifes thought them not human, but a visitation sent by the gods in punishment for some evil. In vain did they offer sacrifices to the gods; the raids of these strange beings continued, and the land was thrown into a state of pamc.

Now the heroic Moremi, desiring to bring an end to this condition of affairs, resolved to let herself be captured during one of the raids, so that she might be p. 15 carried as a prisoner to the land of the Igbos and learn all their secrets.

Bidding farewell to her husband and her little son, she went to a certain stream and promised the god of the stream that, if her attempt was successful, she would offer to him the richest sacrifice she could afford.

As she had planned, she was captured by the Igbos and carried away to their capital as a prisoner. On account of her beauty she was given to the King of the Igbos as a slave; and on account of her intelligence and noble heart she soon gained the respect of all and rose to a position of importance.

Before she had been in the country very long, she had learnt all the secrets of her enemies. She found that they were not gods but ordinary men. On going into battle they wore strange mantles of grass and bamboo fibre, and this accounted for their unnatural appearance. She also learned that because of these mantles of dry grass, they were much afraid of fire, and that if the Ifes were to rush among p. 16them with lighted torches, they would quickly be defeated. As soon as it was possible, she escaped from the palace and from the territory of the Igbos and returned to her own people. Her tidings were joyfully received at Ile-Ife, and shortly afterwards the Igbos were utterly defeated by the trick Moremi had suggested.

Moremi now went to the stream and made a great sacrifice of sheep, fowls, and bullocks; but the god of the stream was not satisfied and demanded the life of her son.

Sorrowing, Moremi was forced to consent, and sacrificed the handsome boy Ela. The Ifes wept to see this sad spectacle, and they promised to be her sons and daughters for ever, to make up for her loss.

But lo! Ela as he lay upon the ground was only half dead, and when the people had departed, he recovered consciousness and sprang up. Making a rope of grass, he climbed up to heaven, and it is certain that he will some day return to reap the benefits of his mother’s noble sacrifice.

The Twin Brothers

CERTAIN Yoruba King, Ajaka, had a favourite wife of whom he was very fond; but, alas for his hopes! she gave birth to twins.

At that time it was the universal custom to destroy twins immediately at birth, and the mother with them. But the King had not the heart to put this cruel law into execution, and he secretly charged one of his nobles to conduct the royal mother and her babes to a remote place where they might live in safety.

Here the twin brothers grew to manhood, and loved one another greatly. They were inseparable, and neither of them had any pleasure except in the company of the other. When one brother began to speak, the other completed his phrase, so harmonious were their thoughts and inclinations.

Their mother, before she died, informed them of their royal birth, and from this moment they spent the time vainly regretting their exile, and wishing that the law of the country had made it possible for them to reign.

At last they received the news that the King their father was dead, leaving no heir, and it seemed to the brothers that one of them ought to go to the capital and claim the throne. But which?

To settle this point they decided to cast stones, and the one who made the longer throw should claim the throne, and afterwards send for his brother to share in his splendour.

The lot fell on the younger of the twins, and he set off to the capital, announced himself as the Olofins son, and soon became King with the consent of all the people. As soon as possible he sent for his brother, who henceforth lived with him in the palace and was treated with honour and distinction.

But alas! jealousy began to overcome his brotherly affection, and one day as he walked with the King by the side of the river, he pushed his brother suddenly into the water, where he was drowned.

He then gave out in the palace that his brother was weary of kingship, and had left the country, desiring him to reign in his stead.

The King had certainly disappeared, and as no suspicion fell on the twin brother, he was made King and so realized his secret ambition.

Some time later, happening to pass by the very spot where his brother had been drowned, he saw a fish rise to the surface of the water and begin to sing:
Your brother lies here,
Your brother lies here.

The King was very much afraid. He took up a sharp stone and killed the fish.

But another day when he passed the spot, attended by his nobles and shielded by the royal umbrella made of the skins of rare animals, the river itself rose into waves and sang:
Your brother lies here,
Your brother lies here.

In astonishment the courtiers stopped to listen. Their suspicions were aroused, and when they looked into the water they found the body of the King.

Thus the secret of his disappearance was disclosed, and the wicked brother was rejected in horror by his people. At this disgrace he took poison and so died.

Orisha Attributes in followers

Obatala
brain, bones, white fluids of the body

Elegua
sympathetic nervous system, para sympathetic nervous system

Yemaya
womb, liver, breasts, buttocks

Oshun
circulatory system, digestive organs, elimination system, pubic area (female)

Ogun
heart, kidney (adrenal glands), tendons, and sinews

Shango
reproductive system (male), bone marrow, life force or chi

Oya
lungs, bronchial passages, mucous membranes

Ifa Related

Los Guerreros

The Warriors / Los Guerreros

The Guerreros (warriors) are a set of orishas that an initiate receives usually after having received their Elekes and it is usually an indication that the person is on their way to Kariocha. The warriors consist of Elegba, Ogún, Ochosi and Osun. The warriors are received in a person’s life in order to protect them, strengthen their spiritual framework, teach them the importance of hard work and to open their spiritual road.

This is strictly a Lukumí initiation in that it evolved out of the environment that the Lukumí people were subjected to when they were brought to the new world as slaves. Originally, in the motherland, these orishas were worshipped and propitiated in communal outdoor shrines that belonged to the entire village or tribe. The exception would have been Elegba, which was received as an Eshu (a stone) by individuals when they were crowned, along with their crowning orisha. Elegba’s shrine was a large stone or collection of stones, Ogún’s shrine contained his iron implements, Ochosi’s included animal horns and the like, and Osun was a special staff that was much taller than today’s version and it was kept outside the home, staked into the ground – yet its function is still preserved in the modern version. All of the modern warriors are usually kept behind the front door, near the front door or facing the front door – indicating their importance in opening a person’s spiritual path, protecting the home from negativity and intruders, and still hinting at their closeness to the outdoors.

The modern Lukumí version evolved because the tribes of Lukumí people were split up and intermixed with other tribes and there was no possible was of having an outdoor public shrine at which offerings could be given without making it known to the slave masters. Thus each individual was to receive their own Elegba – which consisted of an otán (stone) and usually a cement head packed with magically charged substances that is essentially used like Elegba’s tools with which he can affect the physical and spiritual worlds. Here is a typical depiction of an Elegba to the right. But Elegbas vary from road to road, and each is unique and personal to the initiate in its own way. Usually Elegba that is received with the warriors is not a complete Elegba in that he does not have diloggún shells – usually these are added and empowered at the Kariocha. (But I have heard of ilés where they give diloggún with the warriors version of Elegba, but the diloggún are not yet fully empowered to speak.)

Ogún that is received in the warriors set is actually a smaller, less complete version of Ogún. This does not mean that Ogún is less effective, merely that he still has room to grow. He is received in an iron cauldron, with his otán, his tools that quite literally look like the tools that a blacksmith or a warrior would use and other iron implements. He does not usually come with diloggún either – these are usually received either in a separate ceremony, or at the time of Cuchillo. Inside of Ogún’s cauldron living with him, is Ochosi (his best friend or brother depending on which version of the legend you have heard.) Ochosi is also received in a very scaled down form, with the warriors. He is merely a metal crossbow that is empowered and lives within Ogún’s pot. Ochosi is received in complete form, in a separate ceremony. Often when Ogún is made full – by giving him diloggún and feeding him four legs, Ochosi is given full at the same time. Often this occurs at Cuchillo if it has not yet been done for an individual to that point.

Osun is a small staff that is packed with magical substances that acts as a person’s personal guard or watchdog. Many people say that he is your spiritual head, or the foundation for your higher self or Orí. He is lidded and sealed metal cup with a stem and is about 9 inches tall. on top of the lid is a metal rooster – the symbol for Osun. Hanging from the lip of the cup’s lid, are four jingle bells hanging from little chains. Osun is supposed to be placed in a high place in the house – preferably above the initiate’s head with the rooster facing the front door, so that he can watch for danger. He is supposed to remain upright at all times, and if he ever falls over, it is an indication that something very bad has either been thrown at the initiate or is on it’s way to harm the initiate. Osun should be immediately turned upright and the primary godparent should be notified of what happened. This is the scaled down modern version of the original that was found in Africa. There are human-sized Osuns but they are received for different purposes and in a separate initiation.

The warriors, when received into a home for the first time, or when the initiate moves into a new home, have to go through a special ebbó called the ebbó de entrada (the offering of entry.) This involves eyebale to Elegba, Ogún, Ochosi and Osun at the door to the house (Shilelekun.) This not only empowers and strengthens the door to the house for protection, but it also strengthens the presence of the warriors in that home and in effect lets them know that it is their new home and they are bound to protect it from any enemies or negativity. The initiate is then to tend to his new orishas in his home by cleaning them from time to time, coating them lightly with epó (palm oil), and a bit of honey, offering them rum, and occasionally cigar or a candle. Some ilés offer candies to Elegba, or fruits and toys. In my ilé we do not give candy to Elegba until he has completed something for us, as a reward.

Now that the initiate has received Elegba, the orisha can guide them spiritually, open their psychic senses and their doors to evolution and in general assist them through life. Many ilés call the initiate an Aborisha (follower of the Orishas) after having received the warriors.

The Story of the Irde

Death (Iku) was gathering humans before there full time on earth had passed.
The Orishas worried about this, until Orumila said he would resolve this matter.

One day when Iku was busy, Orumila went and took his hammer
Iku became furious when he discovered the Hammer missing.
He rushed back to Orumila’s house, and demanded the hammers return.

Orumila said, Oludumare had assigned you the task of gathering humans when thier time had come,
but you are gathering them when you want, prior to thier predetermined death.
Iku answered, if humans do not die, the earth will die.

Orumila answered “you are not right to take humans before their time.
After a long discussion, Orumila began to see the logic of Iku’s task
Orumila aggred to return the Hammer, But Iku must swear not to take any of Orumila’s
children before there full time has passed.

Iku answred, When I see the Irde Ifa on a persons left wrist, I will pass over them, unless it is there predetermined time to die. Orumila and Iku aggreed, and from this day, Ifa devotees wear the Irde on the left wrist, as a sign of the pact between Iku and Orumila.

La Historia De La Letra del Ano

Historia de la Ceremonia de la Letra del Año


La Ceremonia de la Letra del Año es el evento religioso más importante que se lleva a cabo por los Babalawos, tanto en Cuba como en Nigeria, aunque en fechas diferentes, por lo que debe ser del conocimiento de todas las personas que se preocupan por la cultura Yoruba.

No cuestionamos, ni cuestionaremos jamás lo que hacen los hermanos de las diferentes ramas religiosas dentro de su Ilé Osha, tanto en Cuba como en el mundo; pues merecen todo respeto y consideración hacia la identidad y diferenciación que puedan tener según sus códigos culturales.

Cuba es el territorio donde mejor se conservan las tradiciones culturales de esta religión que nos fuera legada por nuestros ancestros esclavos traídos desde África a finales del siglo XVIII. Esto se debe en gran medida a los esclavos pertenecientes a la etnia Yoruba, en específico los de las religiones de los Orishas e Ifá. En nuestro país esta religión es considerada como Religión Cubana de Origen Africano teniendo en cuenta, a través de la historia, los elementos tradicionales rescatados por nuestra población religiosa; elementos que han sido conservados y revitalizados y que por su apego popular han llegado a formar parte de nuestra cultura y de nuestra identidad nacional.

Esta religión, como la vida ha demostrado, se ha trasladado desde Cuba a cualquier región o país del mundo, de una forma natural y espontánea sin perjudicar la religión en general. Por el contrario, ha tenido un intercambio que le da riqueza a la religión y a la cultura, pues exportar una tradición como esta que se caracteriza por no hacer proselitismo "la convertirá en la religión del Siglo XXI", como expresara el Prof. Wande Abimbola (AWISE ABAGE, Inspector general de la religión Yoruba en el mundo), expresión con la que estamos completamente de acuerdo.

Nuestra Institución ha estado luchando desde hace muchos años por la unidad de todos los practicantes de la Regla Osha e Ifá del mundo en los aspectos más importantes y generales donde la Letra del Año tiene un papel fundamental.

En cuanto a este último aspecto hemos tratado de unificar a todos los religiosos sin lograr hasta el presente un resultado final. Esto es debido a que los patrones de cada practicante en ocasiones se vuelven absolutistas y es posible que no se haya pensado en que al rechazar la unificación y no tomar una decisión positiva no se hayan tenido en cuenta las dificultades que ocasionan. Y no sólo atañen a una persona, a un grupo institucional o familiar, sino que se daña una religión que nos fue legada por nuestros antepasados y forma parte del patrimonio que debemos respetar y preservar seriamente.

Se ha tratado de hacer un trabajo de unificación para llegar a un consenso en cuanto a la Letra del Año. Nos referimos a un sistema adivinatorio de probabilidades y es por esta razón que cada ceremonia da por resultado la regencia de distintos Orishas y odun en el año. Las personas, creyentes y no creyentes, se ven confundidas, no saben en quien creer, ni por cual letra regirse. Lo que hace que pierda credibilidad, prestigio y se considere que a nuestra religión le falta seriedad, respeto y la unión por la que luchamos.

Historia
Desde sus inicios las investigaciones cuentan que la Letra del Año comenzó a sacarse a finales del siglo XIX, sin poder precisar la fecha exacta. Por datos y documentos se nos revela que Babalawos procedentes de las diferentes ramas religiosas existentes en el país comenzaron a reunirse para efectuar con todo rigor las ceremonias establecidas, que concluían el primero de enero con la apertura del la Letra del Año.


A través del Oráculo de Ifá se daban a conocer las orientaciones y recomendaciones que debían cumplirse durante ese año, con el fin de evitar o vencer los obstáculos y las dificultades. Por esta razón la primera Letra del Año que se realizó en Cuba la efectuó el Babalawo Remigio Herrera, Obara Meyi, Adeshina, de origen africano, apoyado fundamentalmente en cinco de sus ahijados, a saber:

Marcos García Ifalola Baba Ejiogbe
Oluguere   Oyeku meji
Eulogio Rodríguez Tata Gaitán Ogundafun
José Carmen Batista   Obeweñe
Salvador Montalvo   Okaran Meji
Bernardo Rojas   Ireteuntendi

Es bueno señalar que algunos de los ahijados de Adeshina tenían como Oyurbona a Oluguere que era también de origen africano.

En el año 1902, por problemas de salud de Adeshina, Tata Gaitán asume la responsabilidad de la Letra del Año apoyado por los Babalawos antes mencionados y participando además:

SecundinoCrucet Osaloforbeyo
Bernabé Menocal Baba Ejiogbe
Quintín Lecón García Oturaniko
José Asunción Villalonga Ogundamasa


Igualmente contó con la participación de casi todos los Babalawos de esos tiempos. Aunque la ceremonia siempre se realizaba con la mayor discreción posible y en privado; ya que en el gobierno imperante, todo este tipo de prácticas de creencias africanas estaban consideradas como un delito común dentro del código penal. Por esta razón en algún que otro año se trató de disminuir la participación masiva de Babalawos y se invitaban a los jefes de familia con sólo uno de sus ahijados.


El 9 de mayo de 1959 fallece Bernardo Rojas y su sucesor, el Dr. José Herrera, hereda las deidades de Adeshina y la responsabilidad de la Letra del Año. Tomando en consideración que Joaquín Salazar era el Babalawo mayor y Obá de la rama, el Dr. Herrera le cede la dirección de la apertura del año; llevándose a cabo con la misma efectividad y rigor religioso que las anteriores ceremonias correspondientes a la Letra del Año.

Las actividades en estos años fueron realizadas bajo la dirección de Joaquín Salazar y la rama Adeshina, representada por el Dr. José Herrera.

Posteriormente Joaquín Salazar y otros mayores se dieron a la tarea de reorganizar nuevamente las ramas tradicionales existentes. De esta forma se volvió a ampliar la participación en la Letra del Año a todos los Babalawos. Es así como fueron llamadas, entre otras, las ramas que siguen a continuación:

Rama Nombre Signo Representación Signo Ifabi
Francisco Villalonga Ogunda Kete Ángel Villalonga Ogundaleni
Adeshina Remigio Herrera Obara Meji Fernando Molina Baba Eyiogbe
Ño Karlo Adebi Ojuani Boka Ángel Padrón Baba Eyiogbe
Pericón Pérez Ogbe Yono Alejandro Domínguez Osa Guleya



La letra que se interpreta en la ACYC hace ya algunos años, es la realizada por los Babalawos del país con mayor cantidad de años de iniciados y que desde su comienzo lo han hecho de forma ininterrumpida hasta la actualidad.

Las ramas más tradicionales del siglo XIX y del comienzo del XX estuvieron dirigidas por Babalawos africanos que después delegaron esta responsabilidad en sus sucesores cubanos.

No pretendemos centrar ni establecer tradiciones, sino defender la legitimidad de las ya existentes, transmitidas de generación en generación.

Nos satisface sobremanera que la Santería, "Regla Osha e Ifá, fructifiquen en cualquier territorio del mundo, con la misma fuerza que lo han hecho otras Religiones Cubanas de Origen Africano, que son las que hoy constituyen su fortaleza, como son por citar algunas, el vodú y el palo monte, siempre y cuando no exista en su trasfondo una base de proselitismo y el ánimo de lucro y comercialización.

Aprovechamos la oportunidad para dar a conocer nuestra inconformidad con el sacrificio público de animales, que realizan muchas personas en cualquier latitud en distintos festivales, eventos, espectáculos, videos etc., por una razón muy sencilla pero fundamental, no creemos que para llevar a cabo estos menesteres públicos de envergadura sea necesario llegar al sacrificio de animales, máxime cuando nuestra religión cuenta con tantas bellas manifestaciones y expresiones culturales posibles de exhibir..

Somos de la opinión que aquellos que se han prestado para ofrecer este tipo de actividades, no tienen bien definida su religiosidad, pues debemos tener muy presente que no todos los elementos de la cultura y la religión de un pueblo son comercializables, así como que no todos los habitantes del planeta deben tolerar la realización de un tipo de espectáculo de esta envergadura, pues su visión sobre esta cuestión es bien diferente y en ocasiones muchos son afiliados de asociaciones protectoras de animales, lo que conlleva a que su opinión sobre estos actos sea denigratoria, lo que en lugar de enriquecer nuestra cultura la lleva a su detrimento.

La Historia de la humanidad refiere, que todas las religiones en sus inicios sacrificaban seres humanos, pasando posteriormente de acuerdo a su mitología y patrones al sacrificio de animales, los que posteriormente fueron sustituidos por algún elemento que suplantara este sacrificio, no siendo el caso de las religiones de origen africano que hasta nuestros días siguen utilizando en su ceremonial secreto el sacrificio de animales.

Muchas son las personas que equivocadamente o erradas se aprovechan ahora de la popularidad que ha adquirido esta religión en Cuba y nos atrevemos a decir que en el mundo, para utilizarla como medio de lucro y de enriquecimiento, cuando anteriormente estás mismas personas la consideraban como cosas de negros, de personas atrasadas y de oscurantismo.

Sepan que le reservamos gran respeto a todas las religiones con las que cuenta la humanidad, que no nos preocupa que alguien que no se respete, hable mal de otra religión para que la suya prevalezca, al contrario nos da pena de que alguien tenga que utilizar este medio para que su religión florezca pues eso deja mucho que desear y se puede interpretar que su religión no está lo suficientemente fuerte ni tiene principios sólidos que sustentar.

El respeto es la base de la vida y cada persona es libre de escoger su credo y su línea a seguir ya que entre los seres humanos debe primar el respeto y no el intrusismo en la vida de cualquier semejante sea profesional o no, y en mayor medida si se trata de su fe religiosa.

Somos creyentes de una de las religiones más antiguas con las que cuenta la humanidad, ya que hoy en día se conoce que el lugar donde hubo vida humana por primera vez en la existencia de la humanidad fue en el continente africano y precisamente en la ciudad sagrada de los Yoruba (Ilé Ifé), procuraremos que esta no sea manipulada y ni sea objeto de espectáculo sólo porque a algunos les interese hacerlo.


JUNTA DIRECTIVA ASOCIACIÓN CULTURAL YORUBA DE CUBA

This article is reprinted with the permission of the Cuban Yoruba Cultura Association.
I invite you to visit their website directly at CubaYoruba