Dia de oshun

Dia de oshun DEFAULT

CUBA: El altar es católico, las ofrendas son para Yemayá y Ochún

Melones, cocos, piñas, plátanos, papayas, naranjas y muchas flores van cubriendo las aguas de la bahía de La Habana mientras la vieja lancha hace su recorrido entre el casco histórico de la capital cubana y el poblado costero de Regla.

Miles de habaneros cruzaron por estos días la rada para colocar en el altar católico de la Virgen de Regla su ofrenda a Yemayá, una de los orishas mayores de la "Regla de Ocha" o santería cubana.

A 967 kilómetros de La Habana, en las afueras de esa segunda ciudad en importancia de la isla que es Santizgo de Cuba, otra cantidad incontable de fieles hace su peregrinación hasta el santuario de la Virgen de la Caridad del Cobre, patrona de Cuba.

Septiembre es mes de fiesta para los religiosos cubanos. Todo empieza el día 7 con las vísperas de las festividades de La Caridad y termina el 24, día de la Virgen de Las Mercedes en el santoral católico.

Los asistentes a los templos se cuatriplican o quintuplican en comparación con las misas de domingo y, en medio de la tolerancia oficial, cada vez se hace más imprecisa la frontera entre el catolicismo y la santería, derivación de los ritos animistas africanos.

El sincretismo cubano se inició hace siglos, cuando los esclavos africanos, traídos a la isla por los colonizadores españoles, tuvieron que recurrir a las imágenes católicas para identificar públicamente a sus orishas mayores.

De tal forma, Ochún se identifica con la Caridad del Cobre, Changó con Santa Barbara, Yemayá con la Virgen de Regla, Babalú Ayé con San Lázaro y Obatalá con la Virgen de Las Mercedes.

"Casi todo el mundo viene por Yemayá", dice Milagros Fuentes, una mujer de 46 años que llegó a la Iglesia de Regla el lunes 8 llevando en sus manos un ramo de flores y una muñeca negra que simboliza a los antepasados arribados de Africa.

Fuentes, que va todos los años por esta fecha a Regla, asegura no recordar una concurrencia tan masiva como la de este septiembre y, al mismo tiempo, tan tranquila.

"Lo más impresionante era el silencio de la gente. Ese silencio que no dice nada pero dice mucho", comenta.

Mientras en Regla el padre permitió las ofrendas y bendijo las muñecas, la festividad cobró un aire más solemne y puramente católico en la Iglesia de la Caridad, en el municipio de Centro Habana.

Para los católicos las fiestas de la Caridad del Cobre cobraron un matiz especial este año en virtud de los preparativos de la visita del Papa Juan Pablo II a Cuba, prevista del 21 al 25 de enero próximo.

En medio de sus usuales llamados a la reconciliación, el cardenal Jaime Ortega condenó los atentados con explosivos registrados los últimos meses y pidió a los creyentes abogar porque "el camino de la violencia no se produzca".

"Estamos contentos porque viene el Papa, pero no se puede vivir al margen de las cosas que están pasando en el país", dijo Fuentes, que, aunque es santera, tiene a una de sus hijas cantando en el coro que se prepara para la misa del Santo Padre en La Habana.

Las festividades religiosas sucedieron a una ola de atentados contra la industria turística local que provocó la muerte el día 4 del empresario italiano Fabio Di Celmo, de 32 años.

Los actos terroristas aún por esclarecer generan inquietud en la población de la isla, acostumbrada a una situación de estabilidad social a pesar de la crisis económica que dura ya siete años y afecta todas las esferas de la vida.

"Como en otras ocasiones, la religión incrementa su importancia y su papel en tiempos de crisis", advierte el analista del Centro de Investigaciones Sociológicas y Psicológicas de la Academia de Ciencias de Cuba Jorge Ramírez Calzadilla.

Expertos locales aseguran que la "reactivación religiosa" registrada en Cuba en los últimos años está vinculada a un proceso global pero también a la incertidumbre que acompañó a la crisis interna a inicios de esta década.

Influye también la toma de posición del gobernante Partido Comunista en contra de toda discriminación por motivos religiosos que, entre otras cosas, provocó que las personas desterraran los temores de asumir publicamente su condición de creyentes.

En los últimos años aumentan los asistentes a las ceremonias religiosas, el número de bautismos oscila alrededor del 60 por ciento de los nacidos y crecen las iniciaciones de santería, los responsos y otros ritos mortuorios.

Pero existe una diferencia fundamental entre las dos religiones dominantes en Cuba que, de alguna manera, opera en favor de la santería: mientras los católicos dan solución a los problemas "en la otra vida", los orishas les dan respuesta terrenal.

Durante este mes muchas son las personas en la isla que asisten a la iglesia, meditan la homilía católica y, poco después, ponen sus ofrendas a Ochún o Yemayá en algún pequeño altar o en las aguas del mar. (FIN/IPS/da/dg/pr-cr/97

Sours: https://ipsnoticias.net/1997/09/cuba-el-altar-es-catolico-las-ofrendas-son-para-yemaya-y-ochun/

Oshun

Orisha

For the state in Nigeria, see Osun State.

Ọ̀ṣun
Oshun
Oxun.jpg
Other namesOchún, Oxúm
Venerated inYoruba religion, Dahomey mythology, Vodun, Santería, Candomblé, Haitian Vodou
RegionNigeria, Benin, Latin America, Haiti, Cuba
Ethnic groupYoruba people, Fon people
SpouseChangó, Erinle
Abèbè, the ritual fan of Ọṣun

Ọṣun, is an Orisha, a spirit, a deity, or a goddess that reflects one of the manifestations of the Yorùbá Supreme Being in the Ifá oral tradition and Yoruba-based religions of West Africa. She is one of the most popular and venerated Orishas. Oshun is an important river deity among the Yorùbá people. She is the goddess of divinity, femininity, fertility, beauty and love.[1][2] She is connected to destiny and divination.[3]

During the life of the mortal Osun, she served as queen consort to King Shango of Oyo. Following her posthumous deification, she was admitted to the Yoruba pantheon as an aspect of a primordial divinity of the same name.

She is the patron saint of the Osun River in Nigeria, which bears her name. The river has its source in Ekiti State, in the west of Nigeria, and passes through the city of Osogbo, where Osun-Osogbo Sacred Grove, the principal sanctuary of the deity, is located.[1] Osun is honored at the Osun-Osogbo Festival, a two-week-long annual festival that usually takes place in August, at the Osun-Osogbo Sacred Grove on the banks of the river.[4][5]

Osun is one of the 401 Yoruba gods.

Primordial Osun[edit]

According to the Ifa Literary Corpus, Ọṣun was the only female Irunmole (primordial spirit) sent to assist Shango to create the world by Olodumare. The other spirits that were sent began the work and ignored Ọṣun. Ọṣun went to her partner Shango for guidance. Two versions of this story exist. One claims that female spirits were tempted to take matters into their own hands, but all of their creative attempts failed because they acted without male spiritual leadership. Another version, and this one more consistent with the beginning of the story, claims that the male spirits attempted to make the world without female influence, and this exclusion is what caused the world to fail.[6] The former version appears to reflect a patriarchal influence on orisha narratives that sprang up with the influence of Abrahamic religions,[7] while the second is more in line with traditional orisha beliefs, which revere feminine power. Both story versions end with Shango forcing the other spirits hand to respect Osun as they would him. Through her sacrifice, Olodumare, God granted her the powers of an Orisha.[8]

Mortal Osun[edit]

While still a mortal, Osun is said to have gone to a drum festival one day and to have fallen in love with Shango. Since that day, Shango has been married to Oba, Oya, and Osun, though the last mentioned is said to be his favourite.[9] Other stanzas in the Ifa Literary Corpus say that she was also married to Orunmila, who later became the Orisha of Wisdom and Divination.

It is also said that Osun was the first woman to be referred to as an Iyalode.

Ceremonies and Ritual Colors[edit]

Another picture of an Arugba at the Osun-Osogbo festival

Osun is the orisha of the river. Her devotees leave her offerings and perform ceremonies at bodies of fresh water such as rivers, streams and canals. She is associated with the colors white, yellow, gold, and sometimes coral.

Abẹ̀bẹ̀[edit]

The Abẹ̀bẹ̀ is the ritual object most associated with Ọṣun. The Abẹ̀bẹ̀ is a fan in circular form.

Brazil[edit]

Ọṣun is a female orishá adopted and worshiped in all Afro-Brazilian religions. She is the orishá of the fresh water of rivers and waterfalls; of wealth and prosperity; of love; and of beauty. Followers seek help for romantic problems from Osun; the orisha is also responsible for marriage and other relationships. As the orishá of financial life, she is also called the "Lady of Gold". This referred to copper at one time for being the most valuable metal of the time. Osun is worshiped at rivers and waterfalls, and more rarely, near mineral water sources. She is a symbol of sensitivity and is identified by weeping.[5]

Candomblé[edit]

In Candomblé Bantu, Osun is called Nkisi Ndandalunda, the Lady of Fertility and Moon. Hongolo and Kisimbi have similarities with Osun, and the three are often confused.

In Candomblé Ketu, Osun is the deity of fresh water; the patron of gestation and fecundity; and receives the prayers of women who wish to have children and protect them during pregnancy. Osun also protects small children until they begin to speak; she is affectionately called "Mamãe" ("Mama") by her devotees.[5]

Plants associated with Osun in Brazil are aromatic, sweet, and often yellow, reflecting the qualities of the Orisha. They include mints (Lamiacaea). Osun is associated with the folha-de-dez-réis (Hydrocotyle cybelleta), a plant of the pennywort family. Many species are brilliant yellow, reflecting Osun's association with gold and wealth. She is also associated with folha-da-fortuna, or Kalanchoe pinnata.[10]

Santeria[edit]

Iron chalice of Osun, one of Los Guerreros (the warriors) --) in Santeríareligion.

Ozun is another major Orisha that is distinct from Osun, the latter whom is also called "Oshun" and "Ochún" in the Santería religion of the Caribbean (Cuba, Puerto Rico and Trinidad) brought over by Yoruba people during the transatlantic slave trade. While Ozun is a masculine Orisha associated with John the Baptist, Ochún is syncretized with Our Lady of Charity.[11]

Violín for Osun[edit]

A picture of an Arugba at the Osun-Osogbo festival

A violín is a type of musical ceremony in Regla de Ocha performed for Osún. It includes both European classical music and Cuban popular music.[12]

References[edit]

  1. ^ abMurrell, Nathaniel Samuel (2009). Afro-Caribbean Religions: An Introduction to Their Historical, Cultural, and Sacred Traditions. Temple University Press. ISBN .
  2. ^Coleman, Monica A. (2006). "African American Religion and Gender". In Pinn, Anthony B. (ed.). African American Religious Cultures. p. 501. ISBN .
  3. ^Monaghan, Monaghan (2014). Encyclopedia of Goddesses and Heroines. New World Library. p. 15. ISBN .
  4. ^Martine, Ife. "A Yoruba Festival Tradition Continues: 50 Incredible Photos Celebrating The River Goddess Oshun". OkayAfrica.com. Retrieved 21 June 2016.
  5. ^ abcLopes, Nei (2004). Enciclopédia brasileira da diáspora africana. São Paulo, SP: Selo Negro Edições. p. 505. ISBN .
  6. ^Elibuibon, Yemi (2013). Invisible Powers of the Metaphysical World: A Peep into the world of Witches. Ancient Philosophy Institute. p. 110. LCCN 2009351910.
  7. ^Kumari, Ayele. "Demystifying Iyami". Www.Ayelekumari.com. Retrieved August 18, 2016.
  8. ^Kumari, Ayele (2013). Iyanifa: Women of Wisdom. uSA: maat Group. p. 40. ISBN .
  9. ^Matory, J. Lorand (2005). Sex and the Empire That Is No More: Gender and the Politics of Metaphor in Oyo Yoruba Religion. Berghahn Books. ISBN . Retrieved 21 June 2016.
  10. ^Alexiades, Miguel (2009). Mobility and migration in indigenous Amazonia : contemporary ethnoecological perspectives. New York: Berghahn Books. ISBN .
  11. ^Olupọna, Jacob O. K, and Terry Rey. Òrìşà Devotion As World Religion: The Globalization of Yorùbá Religious Culture. Madison, Wis: University of Wisconsin Press, 2008. Print, pg.395.
  12. ^[1] A VIOLIN FOR OCHÚN-WITH REGGAETON! By Johnny Frías. Cuba Counterpoints, Nov 2016

Further reading[edit]

  • Ajiabde, G. Olusola. Negotiating Performance: Osun in the Verbal and Visual Metaphors, Bayreuth, Working Papers, 2005.
  • Afolabi, Kayode. Osun Osogbo - Sacred People and Sacred Places, Charleston 2006.
  • Badejo, Diedre, Oshun Seegesi: The Elegant Deity of Wealth, Power, and Femininity, Asmara 1996.
  • De La Torre, Miguel A., "Dancing with Ochún: Imagining How a Black Goddess Became White," in Black Religion and Aesthetics: Religious Thought and Life in Africa and the African Diaspora, Anthony Pinn, ed., Cambridge University Press, pp. 113–134.
  • Fakayode, Fayemi Fatunde, Osun: The Manly Woman, Athelia Henrietta Press 2004.
  • Murphy, Joseph M.; Sanford, Mei-Mei. Osun Across the Waters: A Yoruba Goddess in African and the Americas. Bloomington: Indiana University Press, 2001.
  • Probst, Peter, Osogbo and the Art of Heritage : Monuments, Deities, and Money. Bloomington: Indiana University Press, 2011.
  • Popoola, S. Solagbade, Ikunle Abiyamo: It is on Bent Knees that I gave Birth. Asefin Media Publication, 2007
  • Akalatunde, Osunyemi, Ona Agbani: The Ancient Path: Understanding And Implementing The Ways Of Our Ancestors . Createspace, 2005
  • Oshun The Poet, "Flow Like Oshun: Book of Haikus". Createspace, 2018

External links[edit]

Sours: https://en.wikipedia.org/wiki/Oshun
  1. Pearson etext answer key
  2. Mk11 patch notes
  3. Clermont twins before

So begins the invocations of the Babalawós of IFA to Orunmila, that divine manifestation of wisdom and the conduit through which it is made available to humanity through the channels provided by Ellegua/Esu, the tricky and quite moody divine manifestation of divine spirit of connection, before the work of divination, of connection to the divine, may be commenced.

Every religion connects the structures of divinity to the human communities around which their worship is structured and social, political, economic, and cultural communities are organized. To that end, the priestly caste platys a very specific role as mediator, interpreter, and as the incarnation of a social order grounded in divine principles and rules.

The object of the annual letter is to provide guidance for the nation and its people, as well as more technical advice for the orisha communities of initiates and believers. More specifically it is meant to provide guidance for faith practitioners otherwise unable to receive more specific guidance within their own branch. 

For the last eight years I have written of the annual letter of the Cuban Council of the High Priests of Ifá (Consejo Cubano De Sacerdotes Mayores De Ifá), the practitioners of traditional religion brought over from West Africa with the slave trade and now naturalized as a powerful indigenous religion throughout the Caribbean and now growing in the United States. (e.g., 2020;  2019; 2018, 2017, 2016, 2015; 2014; 2013; 2012). The 2018 Letter was particularly relevant--it stressed that 2018 was to be the year of great revelations that would begin to have transformative effects (more here 2018).  The 2019 Letter marked a very odd premonition of rupture. The year was  different in another way.  For a few hours early on January 1st, there appeared to be two distinct letters distributed on the Internet.  The first appeared to be the full Letra del Año and was posted to two web sites, one from Miami and the other from Madrid, but both with deep connections to the religious community in Cuba.  That rupture was realized in 2020, for which the divination suggested the arrival of a fundamental fracture that will be repeated over and over. The Letter for 2021 was highly anticiapted goven the unprecedented challenges of 2020 (Crecen expectativas sobre el contenido de la Letra del Año 2021). 

Traditionally each of the major houses provided their own annual divination.  In Cuba a process of consolidation resulted in agreement among the major houses for a major joint divination and the production of a single national augury.  The year 2021 marked the 6th year of an important change, in which many of the most important branches of the faith came together to produce a unified letter. 

The 2021 Letra (oddus (the wisdom of the divine passed through Orunmila the manifestation of such wisdom communication), patakis (sacred parables passed down through generations of babaláwos, Ifá practitioners), and ruling manifestations) and interpretation/suggestions follows, along with the somewhat abbreviated full predictions and interpretations of the  Yoruba Cultural Society and the Council of Major Priests of Ifá  (with thanks to IPS CUBA for the images).  For this post I include my own interpretation-refection of the 2020 Letra in the form of brief comments on the predominant orishas and on the key odduswhich form the basis of the official divination.

The disorder carried over to the end of 2020.  It caused the IFA practitioners to change their divination ceremonies in light of the realities of the pandemic.  

La Asociación informa además, que Las Ceremonias de La Letra del Año 2021, se realizarán a «puertas cerradas», participando los Sacerdotes que sean Convocados, siempre que no excedan el total de 100 personas como medida sanitaria frente al Covid-19, enfatizan la necesidad de entender que quienes no sean convocados no podrá acceder a las instalaciones.(Consejo Cubano De Sacerdotes Mayores De Ifá , Letra del Año 2021).

 The 2021 Letter as issued on 1 January 2021 follows in full (this verson from Cuba en Miami; other versions here, here, and here): 



La Letra del año 2021 de la Asociación Cultural Yoruba de Cuba en unión con la Comisión Organizadora para la letra del Año Miguel Febles Padrón será publicada en las primeras horas del primero de enero de 2021.

Predicciones de Ifá para Cuba y el mundo en el 2021

A los Sacerdotes de IFA, Obbases, Babalochas, Iyalochas, Iworos y Pueblo Religioso en general.

El 31 de Diciembre de 2020 se reunieron en la sede de La Institución Religiosa Asociación Cultural Yoruba de Cuba los miembros de la Comisión Organizadora de la Letra del Año, integrada por el Consejo e Sacerdotes Mayores de IFA, el Consejos de Sacerdotes Asesores a los Mayores, Sacerdotes Jefes de Familia descendientes de las cuatro vertientes o ramas más importantes de nuestro legado Afrocubano, para realizar la Ceremonia de Apertura del Año 2021. Presidida como es habitual por el Sacerdote de Ifá Ángel Custodio (Bebo) Padrón “Awo Baba Eyiobe” Sacerdote Mayor de Cuba y respaldado por Sacerdotes de IFA de todas las familias de Cuba y sus descendientes en el Mundo.

Signo regente: Ika fun

Primer Testigo: Odi leke

Segundo Testigo: Irete ogbe

Profecía: Un bien de salud firme y seguro en la tierra que va a proporcionar Orula

Onishe: Durante 8 días ponerle diferentes Addimu a Orunla y al octavo día llevar esas ofrendas al río y allí sacrificar una gallina a las ofrendas y al río.

Obatala: Sacrificarle 2 Codorniz, con 16 rodajas de pan, cacao, cascarilla y 2 velas.

Oniche Ile (Casa): Baldear la Casa con 8 hierbas de Obatala

Divinidad que gobierna: Olokun

Deidad acompañante: Ochún

Bandera: Azul con ribetes en amarillo

Ebborecomendado para el año 2021: 1 Gallo, 1 Piedra Del Río, Agua de Río, Migajas de Pan, Tierras de 16 Lugares diferentes, Ropa Sudada, 8 Tiras de colores diferentes, demás Ingredientes.

Obras del Signo de Ifá del Año 2021

Lo que nace en el signo que rige el Año 2021

Refranes del signo:

  • El que ríe último ríe mejor.
  • A veces lo que no le gusta es lo que tiene que hacer.

Orishas que hablan en la letra del año 2021 de la Asociación Yoruba de Cuba:

Enfermedades que aumentan su índice:

  • Enfermedades Infectas contagiosas
  • Enfermedades Gastrointestinales
  • Enfermedades del Sistema Nervioso

Acontecimientos de Interés Social:

  • Aumento del desacato a la autoridad en sentido general.
  • Incumplimientos y Rupturas de convenios.
  • Incremento de desastres naturales que conlleven a pérdidas tanto materiales como de vidas humanas.
  • Aumento en flujo migratorio.
  • Aumento en las pérdidas de vidas humanas como consecuencia de la emigración ilegal.
  • Aumento en las Violaciones, territoriales, jurídicas, sexuales.
  • Aumento en las tensiones políticas, sociales y religiosas que pueden conllevar a un conflicto.
  • Puede haber aumento de la mortandad materno infantil por malos procedimientos.
  • Aumento en la ingestión de bebidas alcohólicas.
  • Aumento en los índices de estafas, robos y asaltos.
  • Incremento de las falsas consagraciones y de las profanaciones religiosas.
  • Aumento en la deformación moral.
  • Incremento en las adulteraciones de alimentos y bebidas que generen intoxicaciones alimentarias.
  • Aumento de los hechos delictivos.
  • Este signo exige de todos un cumplimiento de los mandamientos religiosos

RECOMENDACIONESDE LA LETRA DEL AÑO 2021

  • Se hace un llamado a la Sociedad Mundial a realizar un análisis sobre el alto nivel de corrupción existente en todas las esferas.
  • Se hace un llamado a la familia para inculcar respeto, educación y el amor por el trabajo.
  • Mantener las medidas higiénicas sanitarias establecidas.
  • Cumplir y respetar las leyes de cada país para evitar problemas judiciales.
  • Combatir la promiscuidad en el hogar.
  • Se recomienda chequeo periódico en cuanto a la salud.
  • Se recomienda aumentar el aseo personal, el lavado de las manos.
  • Se recomienda respeto dentro del matrimonio para evitar las rupturas.
  • Analizar las consecuencias de los favores y los compromisos.
  • Se recomienda la rogación de cabeza con dos palomas blancas.
  • Elevar la planificación económica familiar para evitar pérdidas de dinero y deudas.
  • Llevar tributo a Olokum al mar.
  • Los Aleyos e Iworos que tengan pendientes consagraciones, realizarlas este año, verificando antes, a la persona que escojan para consagrarse.
  • Ser selectivos con las personas a realizarles consagraciones o rituales religiosos.
  • Evitar el narcisismo en sentido general.
  • Reforzar la puerta de la casa (ver a su padrino)
  • Acudir a la casa del padrino en busca de orientación religiosa detallada.

 

Interpretation:

This year presents an interesting turn in ruling manifestations of the divine.  

1. Ruling manifestaitons of the divine spirit in the world

The year 2020 was ruled (in the sense that the divine manifestaiton of energy pointed toward the predominance of certain forms of approaches to the year) by Oshun and Obtala, the divine manifestations of both the most positive and most negative energies of faith (passion) and reason (intellect), they are as well the manifestaitons of the qalities of inland waters) and air.  This year, 2021, the principal manifestations of divine energy are all water--Olokun and Oshun. But this is water energy of a vastly different sort. And it is worth taking a moment ot consider Olokun's place in the cosmology of thsi religious community. In the analysis of the 2020Letter fo the Year I noted some of the range of manifestation of Oshun, but there as against the critical aspects of Obatalá. Still, it is worth reviewing for contnuing relevance in 2021. One of the patakis of Oshun, though, reminds us that Oshun may not always keep her word, even after she makes a promise. The story of Oshun and Iroko, a Cieba tree, reminds us that while Oshun is always ready to make a promise (in this case a promise to serve as an occaisonal companion), enforcing the agreement can ultimately produce a permanent separation.  In this case  Ioko's heled Oshun concieve and Oshun failed to keep her end of the bargan.  Iroko eventually managed to meet Oshun's child through the help of Ellegua, and took the child down into the eart fro many years to tell him stories.  Eventually Oshun discovered  this and Iroku produced the chld, well entertained and contented along with richess for Oshun to guard.  But thereafter her children were warned to always stay away from the Cieba tree. 

Both Oshun and Olokun are connected with water.  Oshun's manifestaitons are generally tied to the water that feeds life on land--rivers, lakes and the like,--and thus of fertlity and wealth mostly in that sense but material wealth as well , and to passion, childbirth and other aspects of fertility.  She is also the manifestaiton of overlush fertility and of infertility as well. She is generally understood as gendered female ad all that implies in tradtional manifestaitons of the dfemale principle. Olokun, on the other hand, is said to reside at the bottom of the seas. He isto be distinguished from Yemanya though sometimes there is a strng connection and in some cases an identity (eg in Candomblé). But he is not a "he." Olokun is effectively ungendered, or multi-gendered--Olokun is male or female or male-female, or not male or female or male-female. Olokun "is." He can be revered as the head of all of the manifestaitons of divinity connected with water and is thought to guard vast wealth at the bottom of the seas where Olokun takes residence. But that is the essence of Olokun--dark, submerged, the holder of treasure, androgenous or gender multiple.  The Patakis speak to Olukun's sense of mutual respect but also of hs temper in the face of affront.  The story of Olokuncoming on land to restore honor when he felt his daughter slighted by Oko reminds us that the relationship between earth and water can be destructive and difficult to control.  As the Pataki goes Olokun was enraged when his daughter's relationship with Oko (the divine manifestaiton of the land and its abundance thrugh farming) ended after it was revealed that Oko broke his promise not to mock her deformities.  Though ultimately Oko made peace with Olofi (the unseen supreme diety) Olokun refused to make peace and contiinued to destroy the lands of the earth.  He was ultimately punished when a divine chain was made and he was tied to the bottom of the sea with it. It had been possible to do that precisely because, it is sometimes related, Olokun's rage was so great that he was not even aware that the chain was boing wrapped around him.  Blind rage, a passin tha is out of control, the origins of which might have been justified but then were the source of its own breaches of the rules; that is the fundamental manifestaiton of Olokun.  Olokun holds wealth, but like him, it is tied to the bottom of the sea.  In Caribbean traditions, the intermediary, then, are Yemanya and Oshun who together represent the abundance of the waters and its fertility.  African tradition in places still aligns Olokun with Posiden.  It is this complex relations among the waters that appear to be at the foundation of the divination for 2021. This set of structural characteristics must be taken into account in interpreting the oddus cast for the year, from out of which the babalwos will create their interpretaitons.  Ths of the senior babalawos of Cuba are reproduced above.  And they are worthy of significant study--especially for those in Cuba. And indeed, the thrust of the interpretaiton has as its center the patakis of Oshun and Olokun related above.  They speak to ruptures and breaches of contract and of relationship.  And they speak as well to the passions and destruciton that will come as the response to these ruptures, breaches, and violations.  The patakis, as interpreted by the Cuban Babalawos remind us to have a care in the protection of agreement, but also to be mindful of excessive passion in the response to rupture.  The result of that combination, of an intemorate and unrestrained response to betrayal or rupture, will be deadly.  Olokun reminds us that in the end all parties suffered--Oko to forever reside far from the sea, no longer able to combine easily with the water that had proven so beneficial, and Olokun himself we find bound to the bottom of the sea for his intemperance in the face of rupture, of insult, and of disrespect.  Oshun treated her promises lightly and found herself without its product--her children, for many years.  There is hope of course, in the end, assuming contrition and the sacrifices of acts of forgiveness are made.  But this is a messy business. 

For the Cuban babalawos, the end product is a warning against all sorts of ruptures--social, political, business, familial, personal.  It is also to warn aganst the corruption of politics, of social organization, of religionthat will produce the deformities that may trigger ruptures. In the spirit of Olokun and Oshun, they suggest this is a year of broken promises, of rage, and of sacrifice as those in the wrong try to do right (eventually) but those in the right inevitably are tempted to do wrng.  Even where peace is eventually made--the result of these corruuptions, ruptures and breaches--moral, social, political, physical, etc.--is separation.  What was once aligned and compatible will be sundered. It is, in effect, a time for the picking up of the pieces after an explosion and for each to go his or her or its own way.  Even in peace the old unions and alignmn¡ets will be ruptured. The advice: be mindul of arrangements, agreements, connecitons; they can be corrupted or breaced.  The other side of the advice; in the face of betrayal, of corruption, and of breach, adhere to rinciples of proportionality in the face of an overwhelming temptaiotn to lose control.  As to the specifics suggested for ameliorating this inevitable augury--the Babalwos offer advice that the reader may choose to consider. 

2. The Oddus.

The guiding oddus deepen this interpretaiton and point more closely to the drection that may be taken in 2021. These are considered next.  he principal oddu is Ìká-Fú (No. 235 in the order of Ifa Oddus), supported by Ìdí-Ìreté (No. 119); and Ìrètè-Ogbè (No. 42). 

A. Ìká-Fú (No. 235)

Ìká-Fú speaks to agreements, to mutuality, to the quid pro quo of existence.  "Ìká-Fú, A dífá fún Olobahun Ìjapá, won niki Olobahun Ìjapá rú. . . Ó ko ko rú. Wón ni: Eniti komu (ohun) towó rè wa kiiri t'eni gba s'owó "[Ìká-Fú was divined for the tortoise. He was asked to sacrifice. . . He refused to sacrifice. They said: one who cannot contribute his own cannot recieve from others](Afolabi A Epiga and John Philip Niemark, The Sacred Ifa Oracle (Brooklyn, NY: Athelia Henrietta Press, 1995; p. 501). The tortoise was also asked to sacrifice  so that his debtors might pay him what he was owed ("Ìká-Fú, A dífá fún Olobahun Ìjapá, won niki Olobahun wa rùbo kiobaa le ri owó gba lowo tiojee ni'gbese." Ibid., p. 501-502).

Let us start with the fundamental character of the oddu.  This oddu is comprised of a union of Ìká (no. 11 in the order f Ifa) and Ofún (No 16 in that order).  Ìká speaks to worries, to uncertainties and to the enemies that tend to block one's path, and tus augment worry. It speaks to the seduction of partners and the unreliability of children and associates. And it speaks to the high cost of victory and inadvertant blockages that are caused by our own arrogance. The pssibility of success is there, to be sure, but that path requires substantial sacrifice (understood in its broader sense of works intended to further the objective and in this way to seal a bargain with divine forces). Ofún, on the other hand, speaks to patience and restraint. It also speaks to the exploitation of superiors and the likely need to reduce expectations.  Here the story of the refusal of Olofin to sacrifice to augment the wealth of his children--the 16 major oddus of the Ifa cycle, is read to remind its users, the babalawos, that they will not acquire riches from the use of their powers, only wisdom, in return those who use them way court disaster by failing to heed wisdom when demanded. Here one goves but recieves what may not be expected.

The key here: no just mutuality, but also the knowledge of the uneveness of the exchange, the tenuousness of the relationship, and the need to contribute if one is to extract. 

B. Ìdí-Ìretè (No. 119).

Ìdí-Ìretè augments the initial augury of mutuality and contribution in a peculiar way.  It suggests the difficulty of that contribution. If one does work hard, gain is impossible and contract stillborn. Its essence is simple:

Okó kiiko isé sile. Àdá kiiskunrun, Ajá nf'orí ja'gbo wa sisé Èrú ijà kii b'Agbo [A hoe never fails to work. A cutlass is never sick. A dog gets to work relentlessly. A ram fears no opposition] (Ibid., p. 274-275).

The reference of Okó is important in this year as he was the Orisha whose breach of agreement initially set Olokun into the rage that unchecked, left him chained to the bottom of the sea., and Okó sent far from the waters. But at the same time it is a warning that augments the insight about the payment to the babalawo's in Ìká-Fú.  That warning--one cannot aspire to more than what the social order permits.  A place for everything and everything in the place designated--for tose who seek to break the boundaries of imposition--gender, class, politics, etc., this is not the year when such a breach will produce much gain.  And indeed, the buries suggesiton--this is the year of the counterpunch, of the power of the status quo and of the view of breaches of social contracts, including by those who seek to overcome themselves, will be severely punished.  Perhaps so severely punished that the punishment itself will constitute a breach that will be punished in turn. Not a good year for either peace or stability, thougha year in which that is the baseline from which all uproar will spring.

And indeed,  the fundamental character of the oddu underlines this  supplemental warning  for the interpretaiotn of the principal annual oddu.  Ìdi meiji (No. 4) seaks to hidden enemies who meant to trick and trap. And it speaks to detachment in the face of danger--Okansoso ewon kiike [a single link never breaks] (Ibid., p. 15) and thus the sacrifice of a chain. Ìretè (No. 14) touches on the necessity of humility and warns against intrigues of enemeies.  It speaks to making sacrifice to fit in if only in order to survive and perhaps to thrive. And the warning in the form of the story of Akon the crab, bought as a slave, he produced many children and remained with his master even as the human slaves rebelled and feld. To stay in one's place, to become ones place, runs its own dangers. 

C.  Ìrètèogbe (No. 42).

The second augmenting augury is Ìrètèogbe, No. 42 in the cycle of Ifa.  Here one comes at last to the ray of hoe--the intimation already in the stroy of Oshun and the Cieba tree, one of the acquisition of wealth and the return f one's children, but at a price. This is an Ifá cast for Olokun--again a significant connection. It was predicted he would be rich and have many children (wón ni a di alájé, a di olomo).  And he did.  But his rage cost hin his freedom and his wealth and children became detached from him as he lays at the bottom of the sea. It is as well the oddu of tit for tat--one sacrifices hney to Ifá and recieves honey in return.  But it tells us nothing of the context or conseqeunces.  That becomes more obvious--at least its direction, from the two preceedings oddu. 

Recall as well the fundamental character of this oddu: here we encounter Ìretè (No. 14) again, cautioning humility but warning about that condition as a trap.  We also encounter Èìiogbè (no. 1), a complex oddu which also reminds us of the dangers of Okun in the form of Ògèdè the farmer, who repays the sacrifice of the bana tree by cutting it to the ground after it has given all of its chilfdren (the fruit) to the farmer.  He not just a betrayal but a fatal one. 

D. The hidden Oddu:  Ìretè méji (No. 14)

Note as well, here, the hidden oddu--Ìretè méji (No. 14) whose aspects appear twice in the three augury oddu.  That suggests that its teachings and warnings are to be underlined, and its lessons taken as an important fundamental baseline for interpreting the principal oddu.  Ìretè méji emphasizes the need to community and for initation to assure a long life.  Initation requires sacrifice and embedding within a larger society.  it is about fitting in--and its necessity if one is to survive the year or extract success from an endeavor. But it also warns of failing to heed advice.  Again Akon the crab makes an appearance in this oddu, and in a significant way: 

Odan-ab orípegunpegun li o dífá f'Akon, Won ni: Iwa Akon Koniiba yi ojà mu. Nitorinaa bi Akon ba fe ki ìwa oun ba ti ojà mu kiowa ru: Ata-epo ati aso olokeleti Akon ko ko rú; O wa di ojo ojà Akon gbe ata epo rè ru, o fi pantete bi o ti nfe lati da aso, Olokoleti rè bora, bee ni ata (ikoko) epo re yi tioso si oju de, o fo sii laso, Epo ti o fo si Akon lara ni ojo naa liosa, liosi wa ni ehin rè titi di onì yi. Bi Ifá yi ba bui ènìyan, ki a kilo fun eni naa pe: ko gbodo maafi aso-olokoleti bo'ra [Odan-ab orípegunpegun was cast for Akon. He was told he would never fit  in with the people in the market unless he adjusted a fault in himself for which sacrifice was required, a pot of oil and a shawl. Akton refused to sacrifice on market day. He balanced his pot of palm oil on his head, but when he attemped to wrap himself with his shawl, the pot fell off his head and soaked his clothes. The palm oil that soaked Akon clothes and his body remain on his back to thsi day. If anyone is born by this Ifá, he should be warned to avoid using a shawl to cover his body]. (Afolabi A Epiga and John Philip Niemark, The Sacred Ifa Oracle (Brooklyn, NY: Athelia Henrietta Press, 1995) p. 55-56).

Akon the crab, the slave, the producer of many children for others that he serves and against whom he will not rebel or flee.  Akon, the crab, who wishes to fit in but redfuses to change, and who takes what ought to be offered for himself, only to be marked forever by it, and in the process lose whatever he had of value for sale in the market. Ifá advises against wearing a shawl.  That would have been offering enough. By refusing to sacrifice the shawl Akon lost the oil which marks him permanently. Had he sacrificed the oil he might have worn his shawl to his hearts content. Had he sacrificed both he would have obtained his goal--to be initiated, that is to fit in with the people of the market. But the insights of the story go in many different directions; the folly of those who do not fit in but seek to project themselves into a communal space anyway; the folly of avarice; the perhaps greater folly of carelessness; and the permanence of the conseqeunces of actions that cannot be undone.  

But wider message of Ìrètèmeiji ought to be emphasized as expressed in the double focus on the imperative of initiation, of a coming into community, and of the conseqeunces of the failure to do so.  Thsi is the year that those outside the communal walls may fare well, but they will be marked, and they well carry the burden of that marking going forward. Yetas the story of Akon the crab reminds, and as Ìdí-Ìretè (No. 119) explains: "Okó kiiko isé sile. Àdá kiiskunrun, Ajá nf'orí ja'gbo wa sisé Èrú ijà kii b'Agbo [A hoe never fails to work. A cutlass is never sick. A dog gets to work relentlessly. A ram fears no opposition] (Ibid., p. 274-275). 

And that brings us back to the principal oddu for 2021: Ìká-Fú (No. 235).: mutuality, uneven exchanges, the need to contribute is one is to extract, and the tenuousness of fitting in. It is a year for worry, but also for patience and for the caution to avoid excessive reaction to both rights and wrongs.

E. Oracular Trajectories.

Like 2020, 2021 is the year of Ìrètè, but with a difference.

2020 was the year of Ìrètè-Sa; it was guided by the oracular conclusion--Oku li o nru oku (The dead are carrying the dead).  And, indeed, that became the anthem of2020, the year of the dead carrying the dead, the living and the dead clashing, and the irrresponsibility in their warfare.

2021 is the year of Akon the crab: slave, great producer of value, a fool who will be taken advantage of  even as he acts as his own worst enemy by givong in to the excesses of his character (Okó kiiko isé sile. Àdá kiiskunrun, Ajá nf'orí ja'gbo wa sisé Èrú ijà kii b'Agbo [A hoe never fails to work. A cutlass is never sick. A dog gets to work relentlessly. A ram fears no opposition] (Ibid., p. 274-275). Now applied to individuals, communities, institutions, states, and other aggregations of human endeavor and one produces a potentially explosive coctail of folly, the marks of which we will all bear for quite some time. 

 

 

 

 

 




 

 

 

Sours: https://lcbackerblog.blogspot.com/2021/01/the-orishas-speak-2021-letter-of-yoruba.html

And if she does not see any of us, the anxiety begins to escalate into panic. Then she lies down on our bed with you, curls up and whines. Most of all, she loves to sit at my feet or at your feet. Periodically cuddling and stroking them.

Oshun dia de

I want to you. Izuifil. Take me with you. She realized that Andrei Surganov was overexcited.

Oshun III - Abbilona

I noticed that my hands were cold and shaking a little. In addition to my will, I began to listen attentively to the sounds from the next apartment. But it was quiet.

Now discussing:

She closed her sweet mouth so as not to yell at the entire territory of our picnic. And Valentin, who was brutalized from prolonged abstinence, continued to perform his frictions, obviously bringing now my ex-girlfriend to a second orgasm. And then she loudly groaned, obviously a member of Valentine enters her tight hole. Through binoculars I could clearly see their happy faces.

Should I interfere.



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