Baba Who? Babalú!

When Ña Octavia Zulueta—Jundesi gave Babalú-Ayé to the nine-year-old Armando Zulueta , she taught him that they were Arará-Dajomé, and he in turn passed this idea down to his family and godchildren. This is interesting because in common parlance today, Armando’s Babalú is commonly referred to as Lucumí. While the Lucumí label may have come from the fact that Armando made santo much later in a Lucumí house, it also provides a short-hand description of differences in form and practice that matter a lot to some people. But I want to explore the idea that the Babalú-Ayé and the people who work him in Perico really are Arará-Dajomé. Aurora Zulueta-Omí Saidé was Armando’s favorite niece and goddaughter, and before she joined the ancestors in 2002, she told me that she had always known they were Arará-Dajomé. She reminded me that the Arará had their own language, and she explained that they did not “mojuba” the same way as the Lucumí. Instead of repeating “mo juba” to invoke each of

In the early 20th century, the legendary Pilar Fresneda—Asonsiperaco carried the dynamic traditions from the Cabildo Arará Sabalú Nonjó in Matanzas to Havana City. The stories about Fresneda are many. Some say she was born in Africa, consecrated to Asojano-Alua, and came to Cuba at age seven. Others say her mother was freed from slavery in Africa, and still others claim it was her father who was African-born. Some say she went to Havana as a child, and others claim it was much later. Similarly, some say she was 80-something when she died, but her son El Bate said she was 102 or 103 when she died. As Arará elder Milagros Sequiera Palma tells it, Fresneda left the Matanzas cabildo in a conflict over the emerging community in Havana. Fresneda wanted to carry the cabildo’s sacred drums to Havana to play at a drumming ceremony, but cabildo powerhouse Michaela Ruiz would not allow it. Fresneda then sponsored the creation of new set of sacred drums, and these were recognized by the Ma

They had already fed the drums by the time I arrived. They stood in a line in the courtyard with their heads covered with the offerings. Pedro Abreu—Asonyanye is conscious that he is renovating the Sabalú tradition. He talks about the fact that he has initiated more priests to Asojano than anyone else in history: to date he has initiated twenty-nine people. He has compiled traditions from all over Cuba and created an innovative and unique ceremony for giving Asojano. He has elaborated the initiation of priests in surprising ways. In his inimitable, charming, and understated way, he occasionally quotes of one his godchildren who said, “You have created something here.” As part of his renovation, he has also gone to great efforts to build and consecrate his own set of Arará drums. Pilar Fresneda—Asonsiperaco had a set of drums at her cabildo, and they are now in Pogolotti (see below). Pedro wanted to play them, but in a repetition of history, the cabildo’s current leaders refused t

Armando Zulueta—Omí Toké certainly put Perico on the map because of his active life traveling around Cuba and giving Babalú-Ayé to many, many people. However, just a block west of his house lies the Sociedad Africana de Santa Barbára. Founded by the Arará Ma Fementina Zulueta, the family’s religious tradition has deep ties to Babalú-Ayé. Ma Fementina had a Babalú-Ayé and a full set of Arará drums. When she died, he stayed with her daughter, Victoria Zulueta. Victoria’s great-grandson, Aristites Angarica, still uses this Babalú-Ayé on the rare occasions that he he initiates others into the mysteries of this oricha. Unlike most other Babalús, this one has one large, solitary stone. While he receives a single hand of cowries so he can speak, he usually speaks through coconut divination. He insists on having his own room, so he shares a building in the back yard of the family house with the drums.