Baba Who? Babalú!

The story from Irete-Otura says that Agrónika Omó Bitasa was a potter, a craft he had learned from his father, Asojano. When he is captured by the Iyesá, he is making plates. Often people refer to Babalú-Ayé as a warrior, a wanderer, a wounded healer and a king, but I can think of no other reference to the Old Man working as a potter. Two things about this idea intrigue me. Art historian Suzanne Blier makes clear that in Benin shallow plates, called agban in Fon-gbe, are one of the sources that inspire vessels used to hold the sacred objects of the deities (in Sacred Arts of Vodou , p. 68). When the word agban evolves to follow the pronunciation commonly used in Afro-Cuban communities, the “gb” sound becomes a “gu” or “w” sound, and this produces the Arará word “ awán ,” the name given to the most important ceremony performed for Asojano, where plates are laden with offerings of food and dried grains.   So here Asojano the potter is honored through a ceremony with many plates

The odu Obara-Irozo contains both references to how Babalú-Aye made his way to the land of the Arará and to the role of cundeamor. Changó was returning from war and passed a garbage dump on the edge of the town of Osá-Yekú. There, he found a ragged, sick, old man. Changó sent his lieutenant to bring food and water to the old man. After installing his enormous army at the town of Obara-Koso (a nickname for Obara-Irozo), Changó returned to the place where he left the old man, who was none other than Asojano, and directed him toward a narrow pass. Changó told him to go through the pass and put on a cape made of tiger skin (some say leopard skin) that Asojano would find at the other end. Changó also told him that he would find a boy who would give him water and point out certain herbs that Asojano could use to heal sores and other illnesses. The boy was none other than Elegguá Echú Afrá, and he pointed out  cundeamor , aguedita , zarzafrán , mangle rojo , and hierba de sangre , among

I have been thinking a lot about caves lately. In Cuba, Babalú-Ayé is thought to have lived in a cave at his nadir; in fact, the rare road of Babalú called Kujunú is said to always live in caves and emerge at night with a lantern: Babalú as the light in the darkness. Many altars recreate this terrestrial abode. When giving Babalú, most lineages make a special, low-slung altar in a corner and cover the front with the climbing plant called cundeamor . Babalú and his family rest in this manmade cave during much of the ceremony, emerging only to work or eat. Many people keep their Babalú vessels tucked away and covered with plants or cloth, hidden from view. Some, like Rafael Linares and his widow, cover the vessels themselves in cundeamor . Of course, there is more than one story about how it is the Babá came to live in a cave. There is the story of his exile that I have already told, and many people simply fill in the detail of the cave when they are trying to imagine or expl