Awonifa

Study the Teaching of Ifa and the Orisha's

OLOKUN (oni-okun, he who owns the sea), “Lord of the Sea,” is the sea-god of the Yorubas. He is one of those who came from the body of yemaya.

As man worships that from which he has most to fear, or from which he hopes to receive the greatest benefits, the inland tribes pay little or no attention to Olokun, who is, however, the chief god of fishermen and of all others whose avocations take them upon the sea. When Olokun is angry he causes the sea to be rough and stirs up a raging surf upon the shore; and it is he who drowns men, upsets boats or canoes, and causes shipwrecks.

Olokun is not the personally divine sea but an anthropomorphic conception. He is of human shape and black in colour, but with long flowing hair, and resides in a vast palace under the sea, where he is served by a number of sea-spirits, some of whom are human in shape, while others partake more or less of the nature of fish. On ordinary occasions animals are sacrificed to Olokun, but when the condition of the surf prevents canoes from putting to sea for many days at a time, In ancient times a human victim was offered to appease him. It is said that such sacrifices have been made in recent times, even at Lagos, by the people of the Isaleko quarter, who are chiefly worshippers of Olokun. The sacrifice was of course secret, and according to native report the canoemen used to watch by night till they caught some solitary wayfarer, whom they gagged and conveyed across the lagoon to the sea-shore, where they struck off his head and threw the body into the surf.

A myth says that Olokun, becoming enraged with mankind on account of their neglect of him, endeavoured to destroy them by overflowing the land; and had drowned large numbers when Obatala interfered to save the remainder, and forced Olokun back to his palace, where he bound him with seven iron chains till he promised to abandon his design. This, perhaps, has reference to some former encroachment of the sea upon the low-lying sandy shores, which are even now liable to be submerged at spring-tides.[1]

Olokun has a wife named Olokun-su, or Elusu, who lives in the harbour bar at Lagos. She is white in colour and human in shape, but is covered with fish-scales from below the breasts to the hips. The fish in the waters of the bar are sacred to her, and should anyone catch them, she takes vengeance by upsetting canoes and drowning the occupants. A man who should be so ill-advised as to attempt to fish on the bar would run a great risk of being thrown overboard by the other canoemen. Olokunsu is an example of a local sea-goddess, originally, as on the Gold Coast at the present day, considered quite independent, being attached to the general god of the sea, and accounted for as belonging to him.

Yoruba Fokelore

Ogun meets Ochosi

It is said that Ogun isolated from the world spent his time
clubbing and hacking his way in the jungles searching for food, but
with his aggressive manner would only scare the prey away. So he
pined starving and frustrated in the forest with only his ability
of his forge with which he could make knives and tools. Oshosi on
the other hand with his mysterious efficacy to hypnotize his would
be victim, would prize numerous catches. But without the tools with
which he could butcher them he also remained alone and starving with
numerous unopened carcasses that were of no value to him rotting. One day
Eleggua came about, hungry and curious and having seen Ogun not far
off in a similar predicament he said;

“Why don’t you and Ogun live together? Certainly you would be
formidable room mates. For you can catch to your hearts desire and
Ogun can open the prey”.

Eleggua then went to Ogun and proposed; “Why don’t you and Oshossi
move together and work with each other instead of quarreling or
being so exacting in your differences? Certainly if you live with
each other while one can hunt the other can make use of that which
you’ve caught.”

Then Oshosi and Ogun said; “But we cannot guarantee that we will
always find what we are looking for. If we then both become hungry
then in our frustration of the best of friends we will become the
worst of enemies.”

To which Eleggua answered; “Not so, for if you share with me your
catch, for I only need very little as you see, I will show you
where to make the paths, where to find the grounds where at, you
will be successful in getting good catch and that way we three can
not only be friends but an indefatigable threesome that none can
surpass!.”

And it is said that from that day forward Ogun and Oshossi share
the same cauldron and Eleggua…well, he comes and goes as he
pleases, so long as he is taken care for he will always at least
let the hunters know where to go for their success.”

“Osanyin,
Agogo ishere agbara
Elese kan sare ju ese meji lo”

`God of herbs
Dance bell of power
One-legged man running faster than men on two legs.’

The Leopard Man

A handsome stranger once came into a certain village and strolled about among the people in mysterious silence. All the maidens admired him and wished that he would choose one of them for his bride. But he said nothing, and at last walked away into the forest and disappeared from sight.

A month later the stranger came again, and this time one of the maidens fell so much in love with him that she resolved to follow him into the forest, as she could not bear to be separated from him.

When the stranger looked back and saw her coming behind him, he stopped, and begged her to return home; but she would not, and exclaimed: I will never leave you, and wherever you go, I will follow.

Beautiful maiden, you will regret it, replied the stranger sadly, as he hurried on.

After a while he stopped again, and once more begged her to retrace her steps; but she made the same reply, and again the handsome stranger said in sorrowful tones: You will regret it, beautiful maiden!

They went far into the depths of the forest, and at length reached a tree at the foot of which there lay a leopard-skin. Standing under the tree, the stranger began to sing a melancholy song, in which he told her that though he was allowed once a month to wander about in villages and towns like a man, he was in reality a savage leopard and would rend her in pieces as soon as he regained his natural form.

With these words he flung himself upon the ground, and immediately became a snarling leopard and began to pursue the terrified girl.

But fear gave such speed to her feet that he could not overtake her. As he pursued her he sang that he would tear her in small pieces, and she in another song replied that he would never overtake her.

For a great distance they ran, and then the maiden suddenly came to a deep but narrow river, which she could not cross. It seemed as if the leopard would catch her after all. But a tree, which stood on the river-bank, took pity on her and fell across the river, so that she was able to cross.

At last, nearly exhausted, she came to the edge of the forest and reached the village in safety. The leopard, disappointed of its prey, slunk back into the forest, and the handsome stranger was never seen again.

Yoruba Traditional Religion

To examine the Yoruba religion, one must look at the entire area of Yoruba cultural existence. Yorubas are located basically in the southwestern part of Nigeria and in some parts of Benin and Togo. The history of the Yoruba religion seems to be somewhat of a controversial subject in most sources that deal with this topic. There was really no mention of when the religion started or much about the origin of the people because the beginning of their existence was always noted as being in Ife, the center where the Yoruba people descended from heaven. Ife is said to have been founded around a thousand years ago and there was some mention that the Yorubas might have descended from some Middle Eastern heritage.

As far as dealing with the actual origin of the religion itself, it is only referred to as a surviving religion of a “higher” religion. That religion is said to be from the Ancient Egyptian–Religion otherwise known as Khamet or Kemet. Being that the language of the Yorubas is so strongly tied to the culture there are many comparisons analyzed as to why there is a belief that Yoruba religion has been derived from Ancient Egyptian religion. For example, in Lucas’ “The Religion of the Yorubas” word comparisons are made. Such a comparison is made with the Ancient Egyptian God Amon: “The God Amon is one of the Gods formerly known to the Yorubas”. The Yoruba words mon, mimon, “holy or sacred,” are probably derived from the name of the God” (p.21).

Many of the sources which I encountered did not attempt to even approach the topic of the origin of the Yorubas Orisa (Orisha). The Orisa is one of the key spiritual elements of traditional Yoruba religion. It is an example of the many deep rooted meanings of the religion of the Yorubas. The Orisa, according to Baba Ifa Karade’s “The Handbook of Yoruba Religious Concepts,” are a series of Gods or divinities under the Yoruba’s main–God, Olorun or Oludumare. Karade also argues that there are many striking similarities between the ancient Egyptians and the Yorubas. The Orisha are “… an expression of the principles and functions of divine power manifesting on nature”(p.23).

The actual word “Orisha” has a deep meaning itself. For example, the word ori is the “reflective spark of human consciousness embedded on human essense, and sha which is the ultimate potentiality of that consciousness.” This gives a strong example of how strong language is tied to religion. This Ori is the aspect of the human that is in a sense in control of their spiritual actions. The ori is divided into two which can be known as the ori apari and the ori apere. The ori apari represents the internal spiritual head and the ori apere represents the sign of an individuals personal protector. The common Orisa which seem to come up time after time are these major ones: Obatala, Elegba, Ogun, Yemoja, Oshun (Osun), Shango (Sango), and Oya.

Each of these gods has a specific purpose when dealing with the human spirit. Each of the orisas has a specific color and natural environment associated with them. Obatala represents the embodiment of true purity of one’s soul. Obatala is also said to represent ethical purity. Such purity is represented by pure whiteness. There is great measure taken to carry out the importance of this pure whiteness because the temples which worship the divinity Obatala have the color of white in all the instruments of worship. For example, the clothing of those involved with the worship in the temples are white. In addition, all the emblems are kept in white containers and the ornaments are white as are the beads for the priests and priestesses. Obatala is said to be the father of the Orisha and the divinity in charge of the carving of humans out of clay into the form they are today. He is worshiped or appeased by his followers when they want children, revenge for wrong doings, cures for sickness and so on.

Yemoja is the divinity that governs over all the waters or oceans. Yemoja is said to be the mother of all the Orisha. She is the water or ambiotic fluid in the mother’s womb and the breasts which nurture a new born child. She is the Matriarchal head of the entire universe. Her natural environment are the salt water–oceans and the lakes and the colors associated with her are blue and crystal. There is much confusion concerning the subject matter as to who is the chief female divinity because the different sources represent different view points on this subject matter and this was really unclear.

Sango or Shango to non Yoruba speakers is said to be a human that was made into a deity. He was said to be the ruler of old Oyo that was hung (legend has it that he committed suicide by hanging himself to a tree after his failure to amass all the political powr to himself) because of his greed for power. Sango is the god of lightning in addition to being the Orisha of drum and dance. He is also known to change things into pure and valuabe objects. His followers come to him for legal problems, making bad situations better, and protection from enemies. His natural environment happens to be any place that has been struck by lightning, and the base of trees. It is said that no god is more feared for malevolent action than sango.

Ogun is said to be the god of iron and basically everything that becomes iron. He is known for building or clearing paths for the building of civilizations and is the divinity of mechanization. Ogun is considered to be the holder of divine justice and truth. He is also said to be the executioner of the world. Natural environment are in the woods, railroads, and forges.

Oya is the divinity that is associated with the death or the rebirth into a new life. She is considered to be the wife of Sango. Oya is also known as the god of storms and hurricanes and has power over the winds. She is also the deity that is in charge of guarding the cemetary. Osun (Oshun) is the deity of diplomacy and all giving or unconditional love. She is a river deity because she symbolizes clarity. She is the divinity of fertility and feminine essence. Oshun is said to represent the strenght of feminine love and the power of motherhood. It is she who is appeased when it comes time for a mother to give birth.

Elegba is the messenger of the deities and his major role is to negotiate between the other orishas and the humans and is very close to all the forces of the deities. He is in charge of giving from the humans to the divinities. Elegba is the one who tests the human souls. Even when worhsipping other divinities, he is also worshipped because of his important role in the Yoruba religion. Elegba can both punish and reward and is known for having great wisdom. He is also the divinity who takes the body upon death and the divinity that saves. Although he does not match the role exactly, he is what the western world would call the devil. Elegba is not evil.

It is particularly important to discuss the dieties because they represent such an important aspect of Yoruba traditional religion. The Yorubas have a deep and symbolic meaning attached to each of the divinities which is exhibited through prayer and worhsip. These divinities give the reader some idea of the powerful belief system of the Yorubas. Many scholars or anyone not familiar with the Yoruba system of worship which is based in the belief in more than one god, may see this religion as “superstitious” or “pagan”.

The Yorubas have many festivals to give honor and praise to the many divinities within the Orisa system of belief. The Yoruba festivals are extremely elaborate and have much deep rooted meaning in practice related to them. Certain Yoruba towns have certain orisas which are honored. This is extremely important because it shows the diversity of Yoruba culture and futhermore the facets of traditional Yoruba religion. It would be tedious and quite boring to examine and give an account of every single festival and the villages in which they take place because the Yoruba religion covers so many (actually all) towns in Yorubaland. The discussion could go on forever. However, I will give one account of this widely practiced aspect of Yoruba religion.

Among the people of Osogbo, the Orisa Osun is the center of the town’s attention even though it is worshipped by the people in all areas of Yorubaland. The reason for this vast diversity may be due to the fact that there are major differences in the landscape of each of the villages where the Yorubas settled. Each orisa has a natural environment and a different emphasis may be put on a different orisa. For example, the reason why the people of Osogbo worship osun may be because their town was founded near a river and osun’s natural environment is in fresh rivers and lakes. The historical legend or belief behind the worship of osun is that the people of Osogbo found it hard to find any fresh drinking water for the village. It was the divinity osun who gave the people of Osogbo fresh water. Osun has also been credited to give infertile women children.

In Yoruba traditional religion, life is circular. What is meant by this that in the Yoruba religion, there is no such thing as death. Death is seen as a transition from the physical plain to the spiriitual plain. The life cycle of the Yorubas is very complex. Before an individual is born into the world, they choose a destiny with God (Olodumare) in heaven. The goal is to fulfil the destiny. There is one exception, once a child is born he or she forgets the destiny he or she has chosen. The purpose of this is for the individual to learn and gain wisdom for life in the spiritual plain. The Yoruba traditional religion believes in predestination. It is also important to point out that there is no hell in traditional Yoruba religion. The Yoruba believe that all of one’s wrong doings will be paid for and all good deads will be rewarded. Under the orisa system, the early cycle of life is called “morning”. Morning of one’s life spans from the time of birth to the age of fifty. It is in this time period that the individual learns and experiences life’s most difficult lessons. This also is the time when the Yorubas raise their families. The Yorubas believe that no one is a master in any area of life until they reach age fifty. The time period from the age of fifty until the transition into the spirit realm is called the evening. It is in this time period that individuals enjoy life the most. By this time most Yoruba men and women would have raised their children and have much free time to enjoy the fruits of their labor. The evening is a time period when the Yorubas prepare for their transition. Long life and family are the two most important blessings in Yoruba religion.

The Yoruba believe that there are three types of people: achievers, people who assist achievers, and bystanders. Whichever role one chooses dictates the type of life that the person will live. The babalawo is the most important figure in Yoruba religion on the physical plain. His role is one of great respect and experience. The Babalawo’s training is long and indepth. It is said in some temples of Yoruba divination that Babalawos are said to stay in their temples for seven years before being released into the world to pracitce Orisha. The babalawo, by his knowledge and training, is the link between the divinities and man.

Ifa Related

Sample Moyuba

Moyugbas de Osha-Ifá (Fuente Proyecto Orumila)

 
Moyugbas de Osha-Ifá
Oribawa Olofin, Oribawa Olorun, Oribawa Oddua, Oribawa Orula, Oribawa Bogbo Ocha, Oribawa Bogbo Orisha, Oribawa Bogbo Egun...
Otún Ni Obá.
Osí Ni Awó Aché.
Shewele Shewele Omó Layé Lodafún Babalao Omi Tuto, Ona Tuto, Tuto Nene, Tuto Larogba, Tuto Lawé Ikokó, Iba Inle Afokán, Iba Inle Owere, Iba Eyiti, Iba Irawó, Iba La Chupá, Iba, Orumale Guamale Yikotún Guamale Yikosí, Iba Olorun Akokó Imbere.
Iba Baba, Iba Yeye, Iba Ashedá, Iba Akodá, Iba Nana Fiyó Odun Ifá Araemi
Por ejemplo:

Araonu Iñó Filomeno García Atandá Ifá Bí Omó Odun Ifá Baba Eyiogbe, Iñó José Okonko Oluguere Oyekún Meyi, Iba Obara Meyi Iñó Remigio Herrera Ardechina, Ogunda Funbo Tata Gaitan, Ogbetuá Nilara Ramón Febles, Iñó Carlos Adé Bi Ojuani Boka, Iñó Jacinto Fernández Bramoso Oluwo Oka Indé Ogbetua Nilara, Iñó Norberto Noriega Ogunda Meyi, Olúo Sarakó Bonifacio Valdés Ogbe Weñá Ifá, Ojuani Alakentú Sheshe Ifá Funké, Ifá Bi Omó Eyiogbe Iba Eloni Bernabé Menocal, Otrupon Baraife Arturo Peña, Irete Tetedí Bernardo Rojas, Oché Paure Benito Rodríguez González, Oché Paure Bernardito Rojas, Que Timbelorun Que Timbelaye, Timbelese, Olodumare, Ibae Ibayen Tonú Rolo Obara Koso, Juan Rossel Ogunda Masá, Miguel Febles Padrón Omó Odí Ka, Juan Angulo Ogbetuá Ni Lara, Asunción Villalonga Ogunda Masa, Alfredo Rivero “El violinista” Otupon Beconguao, Félix El Negro, Papaito Osa Rete, Robertico Lemus Otura Wo, Otura Niko Panchito, Quintín García Otura Niko (hermano de Marcos García Ifá Lola), Miguel Iznaga El Tigre, Cundo Sevilla Ogbe Dí Kaká Ogbe Dí Lele, El Bebo Pastoriza Ogbe Ate, Fermín Medina Odí Atakofeñó, Julián Ogbe Bara, Joaquín Salazar Osalo Folbeyó, Secundino Crucé Osa Loforbeyó, Orestes Sánchez Osa Loforbeyó, Manoló Mirra Osa Loforbeyó, Florentino Ajuria Osa Loforbeyó, Babel Baba Eyiogbe, Cirilo Irete Wan Wan, Fernando Navarro Odi Oro, Miguel Ángel del Toro Ogbe Fun Funló, Manolo Ibañez Oche Meyi, Santiago Iguori Bosá, Arístides Basconselo Irete Kutan.
Babalocha Itokun, Iyalocha Itokun, Bogbó Olúo Itokun, Que Timbelorun, Timbelaye, Timbelese Olodumare.
Aché Bogbo Egun Aremí
(Se moyuban todos los muertos familiares)
Aché Egun Ilagbó.
Aché Bogbo Egun Oré.
Aché Bogbo Egun Imalé
Aché Bogbo Egun Finalí
Aché Bogbo Egun Merinlayé
Aché Bogbo Egun Cucunducú
Aché Bogbo Egun Erú
Aché Bogbo Egun Timbelorun Timbelaye.
Aché Baba, Aché Yeyé, Aché Olofin, Aché Olorun, Aché Oddudua, Aché Inlé Oguere, Aché Inle Fokan, Aché Inle Fokoyeri, Aché Eyite, Aché Irawó, Aché Mi Oluó (Osha y camino que tiene hecho, nombre completo y apellidos, awó ni orunmila nombre de Ifá, signo de Ifá) Oyulona Okan (Osha que tiene hecho, nombre de Osha, nombre completo y apellidos, awó ni orunmila nombre de Ifá ,signo de Ifá), Aché Apeteví Ikofafun (Osha que tiene hecho, nombre completo y apellidos, signo de Ikofafun), Aché Bogbo Awo.
Iba Eleguá, Iba Oggún, Iba Oshosi, Iba Osun, Iba Osain, Iba Obatalá, Iba Oyá Yansa Jekuá Jey, Iba Yemayá, Iba Oshún, Iba Shangó, Iba Aragba Karagba, Iba Olorun Olere Olorun Akoko Imbere.
Emi Omokan (nombre completo y dos apellidos, del sacerdote que oficia) Yoko Osha (Osha que tiene hecho, nombre de Osha), Awó ni Orunmila (nombre de Ifá y signo de Ifá), (se reza el signo), Lodá Obi Omi Tuto Nitosi Oshinshe Odara Ni (Ceremonia que se realiza, por ejemplo: Ikofafun marun, awofaka meta, osorde, etc.) Nitosi Unyén Ni Eyebale (se mencionan los animales que se van a dar, por ejemplo: Adie Meyi) Que Lodafun Abure mi (se menciona el nombre de la persona que realiza la ofrenda) Para sodide.
Nitosi Ikú Unló, Arun Unló, Ofo Unló, Eyó Unló, Iña Unló, Araye Unló, Fitibó Unló, Elenú Unló, Ashelú Unló, Onilú Unló, Bogbo Osorbo Unló, Nitosi Iré Arikú, Iré Omá, Iré Omó, Iré Owo, Iré Susu, Iré Batá, Iré Kirin Kirin, Iré Adeguan, Irée Deguantolokun, Ashegun Otá, Kolenio Dio Arikú Babagua.
Nota: La Moyugba de Ifá se confecciona con los nombres y apellidos, nombre de Osha y Ángel de la Guarda, signo de Ifá, nombre de Ifá de los difuntos de su familia religiosa de Ifá. Es sumamente importante indagar con los mayores cuidadosamente para saber todos los difuntos que uno tiene y no excluir a ninguno de los hermanos que en el ayer nos precedieron en nuestra religión.
Es responsabilidad de cada sacerdote tener una Moyugba completa y recordar a todos sus ancestros.

Moyugba de Osha

  • Para comenzar la Moyugba se dice el rezo siguiente:
    • Moyugba Olorun, Moyugba Olodumare, Moyugba Wamale ni Olofin, Moyugba Oba Egun Oduduwa, Moyugba Oba Orisha Obatalá.
  • El que reza menciona el nombre del difunto y a continuación dice:
    • Que otokú umbo elese Olodumare
  • Los que asisten dicen:
    • Ibae.
  • El oficiante dice:
    • Ibayen timoyen
    • Ibayen tonu
Nota: Generalmente se van mencionando uno a uno los nombres y después de cada uno se dice: Ibae, tocando con el Bakulo en el piso. Se mencionan primero los nombres de los difuntos familiares y otros difuntos que acompañan a una persona y después los difuntos de la rama religiosa y otros religiosos difuntos importantes.
Nota: Los difuntos de la rama religiosa se agrupan en la Moyugba según el Osha que tuvieron coronado y se mencionan en el orden ceremonial que corresponda al Ángel de Guarda en que se inicio el individuo que propicia la ceremonia.
Por ejemplo:

  1. Los difuntos familiares en orden genealógico. Padre, Abuelo, Bisabuelo, etc.
  2. Los difuntos que acompañan: Padrinos de Bautizo y otros que le han sido señalado en las misas.
  3. Los olúos, babalawos, Oloshas, Babalochas, Iyaloshas y Oriate que han sido importantes figuras en Osha-Ifá. A continuación se mencionan difuntos de la rama religiosa en el siguiente orden:
    1. Hijos de Eleguá.
    2. Hijos de Ogún.
    3. Hijos de Oshosi.
    4. Hijos de Osun.
    5. Hijos de Oyá.
    6. Hijos de Oshún.
    7. Hijos de Agayú (si lo tiene recibido).
    8. Hijos de Yemayá.
    9. Hijos de Azowano (si lo tiene recibido).
    10. Hijos de Shangó.
    11. Hijos de Obatalá.
Algunos nombres de difuntos de Ramas Religiosas
  • Omó Elegguá Eshu Lona María Engracia Cordero
  • Omó Elegguá Eshu Itolú
  • Omó Elegguá Eshu Dina La Mora
  • Omó Elegguá Ojuani Chowe
  • Omó Elegguá Aggo Cerdé
  • Omó Elegguá Eshu Miwá
  • Omó Elegguá Eshu Bi Pepa, Josefa Herrera
  • Omó Elegguá Eshu Bi José Urquiola, (José Pata de Palo)
  • Omó Elegguá Elegguse Ma Francisca
  • Omó Elegguá Osi Kan Martina Bicho Malo
  • Omó Elegguá Eshu Carire Arcadio Calvo Espinosa (Buey Suelto Mundo Corta Lima)
  • Omó Elegguá Eshu Alawana
  • Baloggún Ogunda Nigüé
  • Baloggún Oggun Lagdé
  • Baloggún Oggún Toyó
  • Baloggún Ogunda Fumbo
  • Baloggún Ogunda Masa
  • Baloggún Oggún Bi
  • Baloggún Pedro Arango
  • Oló Oshosi Ordedei Candita
  • Oló Oshosi Miguel Oshosi
  • Oló Oshosi Ordelaí Miwá
  • Oló Oshosi Félix Oshosi Ordelé
  • Oló Oshosi Manuela Oshosi (Madrina de Lamberto)
  • Oló Oyá Taggerdé
  • Oló Oyá Oyaddina Habana Paz (La Pastoriza)
  • Oló Oyá Funké Andrea Soler
  • Oló Oyá Oyá Ladé
  • Oló Oyá Addé Egun
  • Oló Oshún Ade Waro Oshún
  • Oló Oshún Oshún Bi
  • Oló Oshún Oshún Miwá
  • Oló Oshún Oshún Larí Carlos Menéndez, (Carlos la Vená)
  • Oló Oshún Oshún Kaiogdé
  • Oló Oshún Oshún Nike
  • Oló Oshún Okan Tomi
  • Oló Oshún Okan Lanké
  • Oló Oshún Oshún Gere Josefina Caballito
  • Oló Oshún Oshún Miwa Oyagboto
  • Oló Oshún Akué Etí Osun
  • Oló Oshún Oshún Alawedé
  • Oló Oshún Oshún Gumí
  • Oló Oshún Oshún Ladé
  • Oló Oshún Oló Oshún Ade María Justa Cárdenas
  • Oló Oshún Oló Oshún Ade Magín Luis Santa María Hernández
  • Oní Yemayá María Menéndez, María Towá
  • Oní Yemayá Omó Larí
  • Oní Yemayá Oki Kio María Carballo (Abuela María)
  • Oní Yemayá Olómigdara Catalina
  • Oní Yemayá Tinomio Juname Margo Santo Sano
  • Oní Yemayá Omí Toké Susana Cantero
  • Oní Yemayá Omí Toké Aida
  • Oní Yemayá Omí Toké Chicho
  • Oní Yemayá Omí Akeré
  • Oní Yemayá Omí Yomí
  • Oní Yemayá Omí Lamá Ñengo
  • Oní Yemayá Omí Yaya Aurelia Mora
  • Oní Yemayá Omí Saya
  • Oní Yemayá Omí Yale Patricio Carbo
  • Oní Yemayá Omí Yale Alejandro Leal
  • Oní Yemayá Omí Yoyagde
  • Oní Yemayá Ogún Fu Mito, Rosa la africana
  • Oní Yemayá Omí Diero Armando Veguería
  • Oní Yemayá Omí Diero Tatica
  • Oní Yemayá Asedina Valeria Regueiro
  • Oní Yemayá Omí Saindé Armando Paredes (Yeyo)
  • Oní Yemayá Omí Tolú Yeyo
  • Oní Yemayá Osha Bi Fermina Gómez
  • Oní Yemayá Osha Bi Ma Monserrate
  • Osafalú Tojunsa Kumban (Asowanu) Matoleyí Africano
  • Osafalú Tojunsa Kumban (Asowanu) Ma Francisca Elegguase (madre de Pilar Fresneda)
  • Osafalú Tojunsa Kumban (Asowanu) Marcelina Samá Ananú
  • Osafalú Tojunsa Kumban (Asowanu) Goyo El Cartero
  • Osafalú Tojunsa Kumban (Asowanu) Edun Elese Vivian Pinillo
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  • Ramón Febles Ogbe Tua
  • José Antonio Ariosa Ogbe Tua Nilara
  • Asunción Villalonga Ogunda Masá. Oló Obatalá
  • Miguel Febles Odi Ka
  • Cornelio Vidal
  • Manolo Ibañes
  • Jacinto Bezto
  • Carlos Argudin
  • Félix Pulido
  • Aurelio Estrada Babel Baba Eyiogbe
  • Feliberto Ofarril
  • Juan Angulo Ogbe Tua
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  • Raúl Días Días (Empegó de Efí Abakuá)
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  • Quintín García Otura Niko (hermano de Marcos García Ifá Lolá, Ekori Abakuá)
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  • Jesús Torregosa
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  • Nicolás Angarica
  • Pedro Arango

Ebo en el Ate

How to do an Ebo on the Opon Ifa
According to way Miguel Febles Padron performed the ritual
Translated by Ogbeate

this page is not yet completed,
I intend to add images or drawings soon to correct misaligned Odu


Table of Contents

1 Preparation of the required material for Ebo on the Opon
2 The 4 different tablets used on the Opon during the Ebo
3 Instructions pertaining to the first tablet on the Opon
4 Instructions pertaining to the second tablet on the Opon
5 Instructions pertaining to the third tablet on the Opon
6 Instructions pertaining to the fourth tablet on the Opon
7 Conclusion of the Ebo

Part One: The preparation of the Ebo

1 Find a square piece of strong brown, shopping bag paper. about a foot square, and place inside a smaller square of paper. This now become the Ebo any reference to ebo means that the items are added to the paper square

2 Take the leaf of the Malanga remove the central stem on the leaf, and the three points. place it in the ebo at the center of the 2 sheets of paper.

3 Take an eko remove the paper wrapping. and place some on the leaf

4 Take some Epo and spread liberally over the Eko then add three pieces of Ekute and three pieces of Fish

5 add also toasted corn, and some dirt from the doorway of the home. If the home has more than one entrance, add dirt from every doorway. bring the dirt in both your hands, first adding to the paper ebo with your right hand and saying the words INLE LALHELU and
then with your left hand and say INLE LALHELA

6 After the dirt is added , combine with all the items specified for the particular ebo. If an item is to large, keep it outside of the ebo so that you can better perform the ritual.

7 Lastly add Oti and honey, then you are ready to begin the ritual at the Opon Ifa.

8 At the place where the ritual will be performed, you should already have the mat with the Opon Ifa in the center, the Irofa and the okuele to the left and to the right the brush, container of water and a sheet with the odu for the particular ebo. any animals that might be required and those items that might be too large to include inside the ebo

9 The ebo, now having been prepared, should remain to the right of the mat, in front of the Opon Ifa

Different Arrangements of Odu on the Opon Ifa to perform an ebo

To perform the Ebo in such a way that it meets all the required rituals and ceremonies the babalawo needs to place on the opon Ifa certain odu of Ifa at different times during the procedure. These different parts of the entire ritual have been called Tablets of Ifa. Since they are placed upon the Opon Ifa . A through understanding will make it easier to explain the ebo completely.

Tablet number 1
This is the most important of all, although not diminishing the other tablets used during the process. Without which the ebo would be incomplete. This tablet is begun by placing the odu. Baba Eyiogbe in the center. Starting from the bottom upwards. dividing the opon ifa into two equal parts. to the right of the lines, place the combination signs of Ifa. to the left place the melli sign of Ifa. after adding the melli signs to the left side, also place the odu’s of Iwori Ojuani and Iroso Umbemi
An example of the first tablet of the Opon Ifa follows below.

Tablet number 2
This tablets is used so the person that is receiving the ebo can symbolically wash the hands with the feathers of the ebo. The hands are washed with the feathers and then they are deposited in the ebo itself. place in the center of the Opon Ifa the sign that brought about the ebo, and also Ogbe Iroso and Otura Oche

Tablet number 3
This tablet is used to seal the ebo, after all the required rituals are performed and the final destination for the ebo is determined by the ebo. just as you did in tablet number 1, place the odu Baba Eyiogbe so that it divides the opon ifa into sections, but this time also draw a line across to divide the opon into four parts. DO NOT CROSS THE SIGN IN THE CENTER

Tablet number 4
This tablet is used to dismiss the ebo,

remember that every time that the odu Ika Melli is invoked, the opon ifa should be encircled with the two middle fingers to build a house around ifa and the iroso that remains in the finger tips should be added to the ebo.

First tablet

II II OO OO II II XX IO
II OO II OO II OO XX IO
OO OO II OO II II XX IO
OO II OO OO II IO XX IO

OO II OO II OO II II II II OI OO
II II OO OO OO II II OI IO IO II
II II OO OO II II II OI IO II OI
II OO II OO II IO OI OI IO OO IO

II II II OO OO II OO II II IO OI
OO II OO OO II OI IO IO OI II II
II OO II II OO II OI II II II II
OO II II OO OO IO OI II II II II

OO II OI OI OI II
II OO IO IO II OI
OO II II OO OI OI
II OI II OI IO II

II OO OO II II OO OO II
II OI OO OI IO II II IO
IO II OO IO OI IO OI OI
IO IO OI II IO II II II

these odu should be written left to right

Second Tablet

II XX II
OO XX II
II XX OI
OI XX OI

Feathers and Ache de Ifa are used to break the odus that have been placed on the opon by using a circular motion with the Irofa. Then and place them in the person hands.

The person rubs them with his hands and adds all to the ebo
The odu labeled with an X represents the odu that was cast originally for the person prior to the this ebo.

Third Tablet

UNESCO Proclamation

Ifa Divination System in Nigeria The Ifa divination system, which makes use of an extensive corpus of texts, is practised among Yoruba communities. The word Ifa refers to the mystical figure Ifa or Orunmila, regarded by the Yoruba people as the deity of wisdom and intellectual development. In the twelfth century, the city of Ile-Ife, located in the Osun region of the South-west of Nigeria, emerged as the cultural and political centre of this community. It is also practised by the African diaspora in the Americas and the Caribbean. img In contrast to other forms of divination in the region that employ spirit mediumship, Ifa divination does not rely on a person having oracular powers but rather on a system of signs that are interpreted by a diviner, the Ifa priest orbabalawo, literally “the priest’s father”. The Ifa divination system is applied whenever an important individual or collective decision has to be made. The Ifa literary corpus, called odu, consists of 256 parts, which are subdivided into verses called ese, whose exact number is unknown as it is in constant growth (ther are around 800ese per edu). Each one of the 256 odu has its specific divination signature, which is determined through a procedure held by thebabalawo using sacred palm-nuts and a divination chain. The ese, considered as the most important part of Ifa divination, are chanted by the priests in poetic language. The ese reflect Yoruba history, language, beliefs, cosmovision and contemporary social issues. The knowledge of Ifa has been preserved within Yoruba communities and transmitted among Ifa priests. Under the influence of colonial rule, traditional beliefs and practices were discriminated. The Ifa priests, of whom most are already advanced in age, have only little means to maintain the tradition, to transmit their complex knowledge and train future practitioners. Thus, there is an increasing lack of interest among the youth and the Yoruba people in practising and consulting Ifa divination, which goes hand-in-hand with growing intolerance towards divination systems in general.

UNESCO website