oya study guide final

OYA: CALL THE STORM ~ Miracle Theatre Group Study Guide, March 2008 1

OYA Centuries ago, war threatened Nupé, which lies to the north of Yorubaland. The King asked his diviners what he should do to prevent invasion. They told him that a virgin should be appointed to tear a piece of black cloth in two. The King selected his favorite daughter for the task. She tore the fabric in two and let it fall upon the ground. Instantly, the mighty Niger River was born, providing Nupé with a formidable obstacle against intruders. The Niger is called "Odó Oya" (O-ya means "she tore") and the river is home to the Awesome Oricha of the Winds, Oyá.

Beautiful, tempestuous, elegant and graceful, Oyá is the fury of the hurricane, the breath in our lungs, the air that cools, the breeze that chills, the winds that blow seeds that fertilize the land, the winds that pass disease throughout villages and townships, the moan of the wind within the cemetery, and the fury of the tempest that tears the landscape asunder. Oyá is one of the hundreds of Orichas of the Yoruban pantheon of deities. The Orichas are best understood by observing the forces of nature over which they rule. Oyá is venerated as an intercessor between humans and the almighty Creator, aiding those who follow her to live a better life, in which their natural destiny is fulfilled. Oyá commands hurricanes, cyclones and tornadoes. Known as the sweeping wind of change and upheaval, revolution and progress, she forces the destruction of old ideals while sweeping away useless baggage; the broom is a symbol of her force for change. She tears down that which is old and decaying, compelling us to begin building anew. She loves to dance. Oyá is praised by many names which also illuminate her dominion, for example: Obini Ya'go: "The woman you make way for when she turns." Her forceful presence demands attention and respect. Obìrin t’o t’orí ogun dá rùngbon si: "A Woman who grows a beard on account of war." She is a warrior. Although comely in appearance she is able to quickly put on a warrior’s mantle. Iya Yansan: "Mother of Nine." In addition to Egungun she bore four sets of twins. Nine is her special power number. Its mystical attributes apply to her. Oyá Iya'loja: "Owner of the Market." She presides over both the seller and consumer. She oversees transactions of all kinds in the marketplace in which fortunes and goods spin in a never-ending whirlwind of exchange, change, and flux. Ayi Lo Da: "The one that turns things and changes them." Ayaba Ni Kua: "Queen of death." Oyá rules the cemetery. She is not afraid of death. She bravely sees people through the transition between life and death. She presides over Yoruba rites having to do with the dead.

OYA: CALL THE STORM

Study Guide

© Miracle Theatre Group, 2008


Her Feast Day is December 4th, but she is also honored on February 2nd. She loves eggplant, hens, she-goats, sheep, locust, black horsehair switches, copper, red wine, plums, and grapes. Her day is Wednesday and among her favorite nine colors are red, purple, brown, and burnt orange. Her symbols are weathervanes, windmills, kites, balloons, propeller planes, wind instruments, pinwheels, two naked swords, and buffalo horns. She also provides her followers with a means of changing themselves. She conducts the transference of matter into energy, a vital force that fuels existence as we experience it. During the Middle Passage, her traditions were brought over to the New World by slaves. In Cuba, the individual Oricha were disguised as Catholic Saints. Oyá’s most popular masks were Saint Therese and Our Lady of Candelaria. Her closest friend is Ikú, the Oricha of Death, and it is their responsibility to see to it that the natural order remains undisturbed. Once a man’s final breath is expelled, Oyá takes it to Ikú, who brings the spirit to the cemetery gates and then to its next passage. Along these lines, one of her symbols is the bed, as nightly we imitate death in sleep.

Ikú Ikú is death, whose function is to dispose of life, not unlike the Grim Reaper of Western lore. Ikú can usually be found in the graveyard, where he abides under the jurisdiction of the Oricha Oyá, who is in charge of the cemeteries. It should be noted that cemeteries were not part of traditional Yoruba culture, Yorubans buried their dead in their own yards. This shift was developed as the Yorubans came in contact and meshed with Catholic burial practices in Cuba).

According to the traditions of La Regla Lucumi (also known as Santería) every individual has a fixed number of days of life on earth before they must return, through death, to the source of all life. The day of life cannot be extended but it can be shortened. Suicide, the wrath of an Oricha, an evil spell or curse, accidents, or the harassment of a troubled spirit can all reduce the number of days destined for life. Those who are killed prior to their allotted time remain on earth as ghosts until their original time expires, while those who live out their

allotted days go directly to a type of heaven for judgment. That is why oracles are so important: they warn of impending danger and seek to restore harmony so that the individual can fulfill their allotted time on earth. At times, Ikú can be cheated. When a person is facing death before their allotted time, a santero or santera (shaman) can try to divert Ikú’s attention. If they succeed, the infirm may live to see another day.


Death does not indicate the cessation of life, but rather a new phase of existence. When a person dies their ori, the spirit of their fate, stands before Olodumare, the almighty Creator, who calls upon the individual’s guardian Oricha. This Oricha gives an account of the faithfulness of the individual in fulfilling their destiny, in maintaining the rituals of the religion, and in keeping secret its mysteries.

ORICHAS Legend tells us that Oludumare, the Creator God, became weary of ruling the world with its endless problems. He decided to divide his powers among the Orichas of the Lucumí pantheon and retire to an isolated and inaccessible hilltop, to the top of which only two Orichas, Obatalá and the mischievous Eleguá, knew the route. So he gathered the Orichas around him and explained his decision. He called forth Yemayá and placed all the seas in her lap. Then Saramagua shook her skirt and separated the oceans and the continents, giving the world the configuration that is has today. To Changó, he gave the lightning, the thunder and the thunderbolts; to Ochún he gave the rivers and the honey and the waters of the sweetest springs; to Ogún he gave the iron; to Elegguá he gave the roads and highways; and to Oyá he gave the cemeteries and wind. (There’s a legend that originally, the oricha Yemaya was given the cemetery, and Oyá was given the ocean, but Yemaya tricked Oyá into trading, thereby making eternal enemies of the two.) The Orichas are the emissaries of the almighty Olodumare. They rule over the forces of nature and the endeavors of humanity. They recognize themselves and are recognized through their different numbers and colors which are their marks, and each has their own favorite foods and other things which they like to receive as offerings and gifts. Offerings are made in a manner that the Orichas are accustomed to, in the way they have always received them, so that they will be recognized by the Orichas who will come to one’s aid. Regla de Ocha, Religión Lucumí or Santería Regla de Ocha (the Spanish name for the religion) originated in West Africa in what is now Nigeria and Benin. It is the traditional religion of the Yoruba peoples there. The slave trade brought many of these people to the shores of Cuba, Brazil, Haiti, Trinidad and Puerto Rico among other places in the New World. African-based religious systems and rites have had a particularly profound impact and transcendence in Cuba, permeating its culture, art, and literature, in addition to its religious and historical dimensions. It has been said that one cannot understand Cubans without taking into account their African roots and influences. La Regla de Ocha believe in one God known as Olodumare or Olorun. Olorun is the source of ashé, the spiritual energy that makes up the universe, all life and all things material. Olorun interacts with the world and humankind through emissaries, known as Orichas. The Orichas are approachable in a way that Olorun is not. Communication between Orichas and humankind is accomplished through ritual, prayer, divination and ebó or offerings. Song, rhythms, dance and trance possession are also means with which humans interact with the Orichas. These expressions affect daily life so that they humans may lead deeper and fuller lives during their stay in this world.


In the New World the Orichas and much of the religion was hidden behind a facade of Catholicism with the Orichas themselves represented by various saints. In Cuba, the expression “Santería” means literally “the way of the saints,” and is used to refer to the Lucumi (Yoruba) religion as it meshed or “syncretized” with influences of the ethnic groups that reached the island. The slave owners would then say "look at how pious this slave is. She spends all of her time worshipping Saint Barbara." Unbeknownst to them, she would actually be praying to Chango, the Lord of Lightning, Fire and the Dance, perhaps even praying for deliverance from that very slaveowner. The memory of this period of history is why some devotees of the religion regard the term Santería as a pejorative and derogatory. As late as circa 1886, contraband slaves continued to flow into Cuba even after the slave trade had officially stopped. Only Brazil continued the practice until later, 1888. The Yoruba figured predominantly in those two countries because they were the last wave of slaves, having finally been conquered by the Europeans. That is why in the first third of the twentieth century some older “negros de nación” (African-born slaves) could still be found who remembered well the traditions and customs of their homeland and were able to transmit them to their descendants. This fact greatly fostered the continuity of the religious systems, as well as our understanding of them today. The traditions of Regla de Ocha are fiercely preserved and full knowledge of the rites, songs, and language are prerequisites to any deep involvement in the religion. Initiates must follow a strict regimen and are answerable to Olorun and the Orichas for their actions. As a person passes through each initiation in the tradition, this knowledge deepens and their abilities and responsibilities grow accordingly. During the entire first year of their training, the initiate or Iyawó or 'bride' of the Oricha must dress in white. The Iyawó must not look into a mirror, touch anyone or allow themselves to be touched, and they may not wear makeup, or go out at night for this year. For devotees of Regla de Ocha there is no separation between the spirit world and the tangible world. The spirit world, nature, and the human environment coexist in the same sphere. Santería may be known for its 'magic', but this magic is based on understanding the mysteries of the Orichas and how to interact with them to better one’s life and the lives of those who come to one in need. Devotees live with the premise that the world is magical.

On Afro-Cuban Dance When the Spanish settled Cuba, a combination of disease and abuse largely obliterated the indigenous peoples of the island. African slaves brought in to work on the sugar plantations soon outnumbered Europeans. Although Cuba’s African population was undeniably oppressed, they managed to preserve many rituals and customs, and their rhythms and instrumentation were also absorbed into existing Spanish musical culture. Regla de Ocha is a religious system that requires dance, song, and drums to continue in practice.

The rhythms play an essential part of the equation; drummers practice assiduously for years to be able to play the intricate rhythms correctly. This is important since the drums


are actually speaking to the Orichas. The Yoruba language is a tonal one and the drums are tuned in such a way as to play the tones of Yoruba speech, and especially the prayers for the Oricha. The songs put the prayers in vocal form. For this reason some rhythms are never played unless it is in religious context as it would offend the Oricha. These rhythms are actually prayers to the deities with each Oricha having its own rhythms associated with them. The purpose of the toque (ceremony) is to sing praises to a particular Oricha, so he/she will manifest in human form, in one or more of the participants. The movements of the dances are borne of the same motions associated with the Orichas for thousands of years. Naturally, dances evolve over time and in new lands. For example, the Orixas of Brazil are very different from the Oricha of Cuba. However, certain traits thrive. As with the rhythms played on the drums, each Oricha has its own dances, with Oyá’s horsehair stick whipping around like a hurricane, Ogún's chopping with his machete, Oshún's portraying her primping in front of her hand held mirror, etc. These movements become more danced prayers than what the Western European would refer to as dance. Meanwhile, popular Cuban culture has inspired dance and music all over the hemisphere; for the past 100 years, the musical traditions of Cuba—located just 90 miles south of Florida—have had a major impact on U.S. popular culture, an influence that continues to flourish. In the 1930’s and 40’s, Cuba gave us the mambo and the cha-cha-cha (cha cha is a drum rhythm of the Yoruba). More recently, Cuba has exported salsa music to the U.S., along with popular musicians like Gloria Esteban and the Buena Vista Social Club. Cuban dances have influenced Spanish flamenco and most recently, African popular culture.

Patakí Patakí are the traditional African tales of the Orichas and their relationships among themselves and with humans. They make up a constantly shifting mosaic of loves, betrayals and intrigue. Below follows a patakí of Orunmila and Ikú. Orunmila, the Oricha that predicts the future, does not fear death. One day, a woman came running up to Orunmila. These were the days that the Orichas still walked on the earth. She clutched at his shoulders and cried out, "Ikú is going around and around my house." This was very serious because Ikú is the name of death. When Ikú wants someone, she walks outside the house looking for a small hole or opening through which she can get in and take away the person inside. "Ikú is at my house," the woman cried again. "She wants to take my only son, my little boy. Ikú sent in a fever and it's going to kill him if I don't do something." She started to drag Orunmila back to her house. "We have to hurry," she said, sobbing. "I have turned my back. Ikú may be getting into my house right now to take away my child." Orunmila smiled down at her and said, "Don't cry, good woman." "But, what should I do? You have to help me," she said. Orunmila patted her head to calm her down. "Don't worry," he said. "Go to the market and buy four baskets full of okra


and take them back to your house." "What about my child?" sobbed the frightened woman. "I will go to your house and make sure that Ikú does not go in," said Orunmila. "Go to the market in peace." The woman followed Orunmila's advice. She went to the market and bought three heaping baskets of okra. When she got home, breathless from having run with the three baskets, she found Orunmila waiting for her. "Here are the baskets," she said. "What are you going to do with them?" "Hush," said Orunmila. "I don't have time for explanations." He took the baskets from the woman, went inside the house and spread the contents of the baskets all over the floors until they were covered by a thick carpet of okra. He handed the baskets back to the anxious mother. "Don't worry, mother," he said. "Ikú won't be able to do your son any harm." Exhausted by the run from the market and a fear and anxiety that had not let her sleep for days, the mother collapsed on a cot and went to sleep. As she slept, the child's fever rose. Ikú was thinking that it was time to take the child away, so she made the sickness worse. Ikú went up to the door and found that it was unlatched and had not closed all the way. Death slipped in through the crack, hurrying to get to the child before the mother awoke, across the room with her usual firm and silent steps. But, when her hard and bony heels stepped on the okra, the fruit burst open and Ikú slipped and slid. All the okra on the floor oozed its sap as Ikú slipped from one side of the room to the other. The sap was as slippery as soap. Both of death's feet slipped out from under her and her long arm bones windmilled trying to regain her balance. "Oh, crap," she cried. And, before she could say anything else, her bony hips hit the floor, shaking loose all her joints. Ikú had to slip and dig through the mess of okra to find one or two little bones that had come off. She made her way very carefully to the door. Outside, Orunmila waited for her. "How are you this afternoon, Ikú?" he asked very politely. "Curse you, Orunmila," she spat. "I know that this is all your fault. Curse you and that cursed woman in there for getting you to help her." "Are you coming again?" Orunmila called out as Ikú hobbled off down the path. Ikú turned and gave him an evil look. "Are you crazy?" she said. "I'm going to wait a long time and make sure that okra is gone!" So be it.


Resources and Further References: Brown, David H. Santeria Enthroned: Art, Ritual, and Innovation in an Afro-Cuban

Religion, Chicago: University of Chicago Press, 2003. De La Torre, Miguel A. Santería: The beliefs and Rituals of a Growing Religion in

America, Grand Rapids: Wm. B. Eerdmans Publishing Company, 2004. Gleason, Judith. Oya: In Praise of an African Goddess, NY: Harper Collins, 1987. Gonzalez-Wippler, Migene. Santeria: The Religion: Faith, Rites, Magic, New York:

Llewellyn Publications, 2002. Lerner, Eric K. Oya: Santeria and the Spirit of the Wind (unpublished manuscript). Marashinsky, Amy Sophia. The Goddess Oracle: A Way to Wholeness through the

Goddess and Ritual. Boston: Element, 1997. Myers Imel, Ann, Martha, and Dorothy. Goddesses in World Mythology: A

Biographical Dictionary. New York: Oxford University Press, 1995. Ortiz, Fernando. La Africanía de la música folklórica de Cuba / Los bailes y el teatro

de los negros en el folklore de Cuba/ Los instrumentos de la música afrocubana. La Habana: Editora Universitaria, 1965.

____. Hampa afro-cubana; los negros brujos. Miami: Ediciones Universal, 1973. ____. Los cabildos y la fiesta afrocubanos del Día de Reyes. La Habana:

Editorial de Ciencias Sociales, 1992. ____. Étnia y sociedad. La Habana: Editorial de Ciencias Sociales, 1993. Raboteau, Albert J. Slave Religion. New York: Oxford University Press, (1978). Teish, Luisah. Jambalaya: The Natural Woman's Book of Personal Charms and

Practical Rituals, New York: HarperOne, 1988.

Websites: African Dance

http://www.ket.org/education/guides/pd/arts3_afrocubandance.pdf African Ladies - Female Orichas

http://www.blueroebuck.com/orishas.html Afro-Cuban Diasporan Religions: A Comparative Analysis of the Literature

www6.miami.edu/iccas/AFRO2.pdf Black Phoenix Alchemy Lab (Perfume Oil Blends)

http://www.blackphoenixalchemylab.com/excolo.html Cuban Religious Beliefs of African Origin

http://cuban-exile.com/doc_226-250/doc0234-35.html Guemilere: The Rhythm of the Saints

http://orishanet.org/bembe.html Meta Religion: The Gods (Orishas)

http://www.meta-religion.com/World_Religions/Santeria/gods.htm Oyá

http://www.blueroebuck.com/oya.htm Patakí of the Orishas

http://www.lasculturas.com/lib/libIfaPataki.htm Photography of Cuban cemeteries

http://www.danheller.com/cuba-cemeteries.html Roots and Rooted: Eepa Oya O!: Ol'Oya Speaks Out by Her Royal Grace Olori Oyadele

http://www.rootsandrooted.org/oya.htm


Roots and Rooted: Oriki Oya - Praising the Spirit of the Wind http://www.rootsandrooted.org/oya2.htm

The Women Who Ruled La Regla Ocha http://www.orishanet.org/womenrule.html

Voice of Toth: OYA from Calendar of the Orishas http://www.voiceofthoth.com/newslet3.htm

What is Santeria? http://orishanet.org/santeria.html

Yoruban Religion: Its cosmology and mythology http://www.photius.com/religion/yoruba.html

Miracle Theatre Group proudly presents the World Premiere of

Oyá: Call the Storm April 4-26, 2008

An original dance theatre production written and directed by Rebecca Martinez, choreographed by Freila Merencio Blanco with musical direction by Isidro Valor Pérez.

Oyá is a feminine warrior oricha of the Afro-Cuban Yoruba tradition. Like the wind that she commands, Oyá is always changing, always moving, with the power to conjure storms, hurricanes and tornadoes. She is also guardian of the cemeteries, where the underworld oricha Ikú, discouraged by pervasive human corruption, has challenged Oyá

to destroy the world. But just as Oyá calls upon her destructive forces of nature, she witnesses humanity in its fullness. Told through heart-felt rhythms of Yoruba influence, the

story of Oyá and Ikú unfolds through folkloric Afro-Cuban dance and song that form a colorful language of movement to reach across linguistic and geographic boundaries.

Miracle Theatre Group’s 2007-2008 season is generously supported by:

U.S. Bank, Allen Family Foundation, Collins Foundation, Oregon Community Foundation, Oregon Arts Commission, Regional Arts and Culture Council, The Jackson Foundation,

La Pantera, El Centinela, Equal Exchange and El Hispanic News.

The Northwest's premiere Latino

arts and culture organization 425 SE 6th Avenue Portland OR 97214

503-236-7253 www.milagro.org

The Miracle Theatre Group has been dedicated to bringing the vibrancy of Latino theatre to the Northwest community and beyond since 1985. In addition to its national tours, Miracle provides a home for Latino arts and culture at El Centro Milagro, where it enriches the local community with a variety of community outreach projects and educational programs designed to share the diversity of Latino culture. For more information about the Miracle, visit www.milagro.org or call 503-236-7253.

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