Baba Who? Babalú!

Linked again and again to the kiti are praise names for the elusive oricha Naná Burukú: Okitikatá aparamalobe Okitikatá akparamanyin Referred to alternatively as the wife, elder sister, or grandmother of Babalú-Ayé, Naná Burukú is widely considered an ancient and important deity. She is often referred to as the mother of sweet waters, both under and above the ground. For this reason, she is sometimes fed at springs and pools of stagnant water. She is considered primordial and even primitive, older than iron, and so people make sacrifices to her using a wooden knife, usually fashioned from bamboo—a plant strongly associated with the ancestors and Naná.   There is much respect—even fear and danger—associated with Naná Burukú. Ernesto Pichardo has told me that few of his elders wanted to get close to her.   Like Odudua, Boromu, Brosia, Yewá and Iroko, Naná Burukú is an earth-bound force associated with the night. Old timers acknowledged that these forces exist, but nobody wa

Yesterday I could not access Blogger so I posted this first on Wikipedia . Thanks to those of you who provided feedback on the first draft--you definitely helped me improve it. * * * * * * * The narratives and rituals that carry important cultural information about Babalú-Ayé include various recurring and interrelated themes. Earth: Babalú-Ayé’s worship is frequently linked to the Earth itself both in Africa and the Americas, and even his name identifies him with the Earth itself (McKenzie 1997:417). However, he also said to provide his followers with other material blessings as well. Taken as symbol of a large set of concerns, Babalú’s link with the Earth can be understood as an emphasis on the centrality of the material in human life. Illness and Suffering: Long referred to as the “god of smallpox,” Babalú certainly links back to disease in the body and the changes it brings (Wenger 1983:168). Because Babalú-Ayé both punishes people with illness and rewards them with health,

As I reflected on the intersection of charcoal and Ojuani Meyi, I discovered something interesting. It turns out that the sign Ofún-Ojuani represents an important nexus of the various themes that surround Babalú-Ayé. I have a tratado that says explicitly that in this sign is born:  the secret of charcoal (and ashes); the curse of the color black; the pilgrimage; and the great secret of Shakuaná.  It is interesting to note that the sign also includes a recipe for the creation of Ibako, the prenda of Oluó Popó. While there is no story explaining the secret of charcoal or the curse of the color black, there is a story explaining the use of colored cloth in the crowning of new oricha priests. It lists black as the color for Shakuaná (though I should say that I think most people would say it should be red). The tratado does provide some detail about the great secret of Shakuaná. It says that before he was Asojano, he was called Kelejewe Kuto, and he had to die in order to be

Lucumí and Arará elders use many different names to refer to Babalú-Ayé, and they associate many different images with this oricha. There are ritual images: as with most orichas, a covered pot—the terra-cotta cazuela—houses the objects sacred to this deity in most lineages. The já, the ritual broom, cleans illness off the devout. There are two metal crutches and two metal dogs that come from the popular Roman Catholic image of San Lázaro, the poor man of Biblical fame. Altars for Babalú-Ayé also include offerings: candles light the way and incense floats up from the floor, filling the air with smoke and smells. Toasted corn rests before him. Perhaps the most common offering is a gourd filled with black beans and topped with a red onion. As patron of life’s material necessities, Babalú is said to rule over all grains and beans. For Cubans, most of whom love black beans and eat them almost daily, black beans represent the staff of life—their daily bread. The beans’ dark color reiterat