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Judith gleason's book praises the goddess of the Niger River. Oya is wind, fire and river, and is seen in fire, warmth and lightning. The author mentions such Classical European correspondences as artemis and hecate.
Judith gleason's book praises the goddess of the Niger River. Oya is wind, fire and river, and is seen in fire, warmth and lightning. The author mentions such Classical European correspondences as artemis and hecate.
Judith gleason's book praises the goddess of the Niger River. Oya is wind, fire and river, and is seen in fire, warmth and lightning. The author mentions such Classical European correspondences as artemis and hecate.
OYA IN PRAISE OF AN AFRICAN GODDESS, Judith Gleason, Harper Collins, San
Francisco, 1992 (1987)
I was attracted to this book because it praises the goddess of the Niger River, and one of the traditional ways of my people is to honour the goddess of the local river. Indeed only a few hours after I bought the book, and without me mentioning it, another raised the suggestion that we greet and honour the river goddess here at our equinox festival. Judith Gleason begins her book with an introduction, Bareback on the Horse of the Wind" (pp 1-15), mentioning several aspects of this significant deity who is also felt in the wind, who presides at edges, including the threshold between this world and the next, whose number is nine (from the mythical nine mouths of the river), who is seen in fire, warmth and lightning, who speaks through cowry divination and assists when speech is required with authority, in market, in arbitration. She helps in childbirth. The concept of a single image does not apply. In short, while the author mentions such Classical European correspondences as Artemis and Hecate, this deity strikes me as no more easy to fit into her own pigeonhole than the traditional deities of the Celts. This feeling is heightened by the closing image of the intoduction which recalls its title. At the conclusion of the original introduction I told how one of the cowrie shell oracle's prescriptions to me was to bring a bit to put on Oya's shrine. I figured that attempting to contain her within the covers of a book was in effect to make such a long-neglected purchase. Now I say there's no reason any more to rein Oya in. On the contrary, now's the time to loosen up, grip the mane, and learn to ride her bareback. p. 15 Part One, "Recalling the Elements" (pp. 17-67), begins by mentioning that deities are natural forces, that only the controllable aspects of these sits in a shrine and that Oya is wind, fire and river. For millennia wind, fire, and water have been chanted as primary constituents of an inhabited cosmos. Everwhere on earth they have been symbolically oriented about the magic circle drawn to encompass that space within which we seek to find ourselves. p. 21 There's a reference to bards and smiths being "technicians of the sacred" (p. 23): ...words accompany the metalworker, too, words intoned by a professional praise-singer, hired by the client to inspire the goldsmith to ancestral heights of competence, and words soundlessly uttered at the sacred moment of fusion in a silent forge by the master himself. p. 23 Bards, who craft verbal praises rather than golden ornaments, are elementally affiliated with water... the kora - a harp with a calabash resonator whose twenty-one strings, rapidly plucked, sound like water rushing over stones. It is an instrument considered consubstantial with the river. In Mali they say the great river Niger, locaslly called Djoliba, itself is a bard, harboring memories of heroic achievements and ritual secrets. The kora player tunes his instrument to these liquid whisperings. p. 24 The author proceeds to something very unusual in the climate, leastways as it relates to me -- the tornado. She also uses this as a metaphor for emotion and violence. Of special interest to me, what first attracted me to this book, is that aspect of Oya as a river goddess. The author provides fascinating material on meteorology and climate, and also on the complex geological and climatic features influencing the history and shifting route of this great river. There is also mythology, the tale of the king's daughter tearing black cloth (Oya - "she tore") from which came this river. All along this river, rain magic and the prerogatives of transport traditionally belong to a special caste of canoemen who, in the region we are concerned with, are called Kede. (Upriver they are called Sorko, and even further upriver, Marka). Upon these technicians of river travel both the Nupe and downstream commercial kingdoms allied with the Yoruba were economically dependent. Besides carrying trade goods and transporting officials, the Kede also used to serve as tax collectors for the Nupe and as carriers of tribute in which they shared. p. 48 Throughout West Africa the dead are believed to be ferried in canoes across three rivers separating this world from the other world. In certain instances and locales the Yoruba, a people of the land, actually bury their dead in canoes. As goddess of transition between lefi and death, Oya owns this fleet plying her waters. pp. 48-49 The tearing of the cloth corresponds at all levels, and an analogy is made to masquerade and to an octopus squirting melanin to ink threatened waters. Her number is nine. Nine brilliant streamers adorn her ritual standards propped on the floor beside offerings to the local dead. p. 50 Her favourite colours are: "crimson, brown, and purple -- the hues of flowing blood, vital animal spirits, and royal prerogative." (p. pp. 50 to 51) There's reference to the two floods, to the year-long, three thousand mile flow from source to ocean, to the spiritual understanding that the waters carried past the delta are purificatory. There is bathing at New Year's Eve, and canoes bear sins out to sea. There's mention of a dam and an unarrived flood, of the river as bard, of secrets remaining unprofaned even when seen and of sacrificing female animals to goddesses. Then comes a look at Oya's role as consort of Shango, god of thunder. Part Two, "Of Masquerades and Woman-Power" (pp. 69-146), begins by describing all Yoruba goddesses ("female Orisha" p. 70) as rivers and wisewomen. It proceeds to duality: All things were created double, they say in Africa. Visible/invisible, male/female, the calm/the violent, the life-enhancing/ the life-depleting, right hand/left hand; all phenomena partake of such dichotomies. When it comes to the balance of social institutions, there's masquerading for men/witchcraft for women. p. 73 There's discussion of massquerade ritual, traditionally by women and taken over by men, though there remains feminine participation in the forms of masquerade, in the women singing and dancing in the area of the public performances, in the few older women who proceed to the male sacred space. The Yoruba word for "theatrical performance" iron, also means "vision," that which can be seen with imagination's inner eye and which the verbal and presentational arts, notably masquerading, can bring before us. p. 76 The tapestry of this part continues with the divination tale of Oya and the red cloth, with a glimpse of a masquerade coming to a house shrine room, with reference to the cloth of a masquerade empowering the presence of ancestral spirits, with relatives contributing cloth for burials, with burial cloth absorbing anger at death, with the god Obatala ("King-of-the-white-cloth") who calms us and enhances our character, with the divination tale of Obatala taking the cloth and urging women be reverenced, with the concept of a veiled face symbolizing office transcending individuality or conveying ancestral presence in the current occupant. In Yoruba culture, the face of a "crowned" person is veiled. Though a chief may be splendidly garbed, we see his face. But a fringed veil of costly beads hides the visage of the sacred wearer of a Yoruba king's crown. This is a metaphor for presence of more than person and signals, beyond status, a transformed state of being. The image is a powerful one, which proliferates itself. For example, a simple version of the royal veil shades the faces of those possessed by the great female Orisha (Oya, Oshun, Yemoja) in Brazilian Candomble. pp. 90-91 There is reference to Shango as king of Oyo and the role of his descendant-successor still ratifying other Yoruba kings on their accessions. Then comes Bayanni, Shango's sister in one version, and the calabash containing his brother. There follows hunting fraternities and Oya dressed in hunter's garb. The great mask of Egungun Oya is kept in a shrine supervised by the Onira, whom one might call the pope of Oya-worship, and tended by women initiates. The mask is dressed in bright silk and satin cloths and wears a headpiece of horns (not buffalo horns, although these are kept in the sanctuary). This is the mask that is performed outside. But it is not the guise in which Egungun-Oya is worshipped inside the shrine house. In preparation for her weekly day of praise-singing, the voluptuous fabrics are removed. Beneath, still horn-coiffed, the goddess of death and regeneration is dressed like a hunter. p. 98 There is reference to the natural alterations occurring as a result of movement to the Americas. One of the new situations was that the forests of the New World already had hunters and the spirits of those people. She mentions Babaluaiye, god of contagious wind-borne diseases and of madness, derived actually it seems from Benin. She continues with an account of a performance on Jebba Island of Ndako Gboya, driving out evil and bestowing health, progeny, fat animals and prosperity. The name attaches senior and great to Oya, although: Unlike the neighboring Yoruba and the Fon, the Nupe have no pantheon of gods. Instead, they have magical medicine and rituals with which to control evils attribuatable to human malevolence. So this is how Oya entered culture in Nupe: as a swirling windcloth empowered to accomplish good-riddence. No more, no less. And it is crucial to our understanding of her mode of being as a goddess. p. 105 She mentions legends and her interpretation that these indicate alternating dynasties in Oyo of Nupe and Bariba rulers, as well as men confining feminine activity. She looks at women's role in the market and the impact of monotheism and Western imperialist concepts of male superiority. She recounts meeting the fear of witchcraft in one place and conversing with the excluded female counsellor in another. She mentions the seagod Olokon. She provides a look at her reception of the title of Ato and the performance at which this occurred, as well as her attendance at another ceremony where she sat flicking a whisk of office. Among evidences of the author's stated "Unified field theory" approach, besides her presentation to the reader of fascinating pieces of meteorology, geology and psychology, is her offering of items from the storehouse of Classical Greek mythology and some Latin terminology. The tapestry proceeds with the blend of traditional and modern in Lagos, with tabloids interested in witchcraft and newspapers reporting how a snake caused a nation wide power blackout, with a confused dialogue in a cafeteria, with even the Ato backed by Ifa divination failing to pass the door of male supremecy, with the tale of hunchbacks, delayed funeral rights and the monkey child, and with consideration of this story and its variants. A mating of mad termite queens and monkeys in the sacred forest puts the very concept of Egungun beyong the ideational bounds of a society whose center of gravity stays in town and never goes beyond the pale -- except in the company of hunters or witches. p. 143 She mentions reincarnation in traditional Yoruba belief and gives a glimpse of survivals in America. Part Three, "Buffalo-Woman and the Hunters" (pp. 151-221), introduces Oya as huntress. The author mentions the sacred nature of the hunt. Also: Exploits that qualify hunters for heroic status are celebrated by specialized bards who know what both hunting and exaggeration are all about. In certain African societies hunting has given rise to its own literary genre, which, expanded, becomes epic. Unlike European literature about hunting, African oral recitations include praise-songs of animals actually uttered by their trackers. p. 156 In addition, continuing, it seems, very ancient traditions, the hunt is acted out afterwards. There is a fraternity of hunters. There are born hunters and those who learn the craft. There is a link between hunters, herbalists and diviners. The god of herbalism is Osanyin. The active virtues of medicinal leaves are envisaged as birdlike. Plants answer to the needs of the body as "witchcraft" responds to situational exigency. On the wrought-iron ritual staffs of diviner-healers the motifs of leaf, of witch-bird with prominent beak, and of bell are almost interchangeable. (There is a type of Yoruba bell-gong actually shaped like a curled leaf.) Bells suggest the realization of vibrations as sound and are metaphors, I think, for the animating chants said over herbal preparations. pp. 160-161 She mentions the similarity of hunting methods and aids across cultures and millennia, specifically naming Xenephon. She criticizes stereotypical American red-neck hunters. Perhaps. Yet, hunting is an ancestral autumnal activity of my family, even if I chose not to pursue it. And, while my father and my brother may have walked through the bush howling as would dogs, or waited patiently in the bush for other relatives pretending to be dogs to flush game, no kin of mine, I hope, would deem himself a hunter shining powerful flashlights at deer. These give off a light that can transfix a deer at two hundred meters, Moussa Traore says. But fully initiated hunters can't carry lights. p. 172 The good hunters, she adds, are supposed to go for bigger game than deer. She provides a fascinating account of her seeking to join a hunting fraternity in Mali, upriver along Oya's river. There is reference to an invisibility amulet (dibi koro), to the importance of belief in the use of such, to reverencing the spirits, including the spirit of an animal killed, to her surprise on encountering the nocturnal nature of hunting, to divination, to a sage asserting that those who called on the sun, as the sun sees all, would be better calling on the earth which sees all, night as well as day. The heart of this part of the book is Oya as buffalo-woman, the tale of the hunter in his platform in the bush seeing the transformation to beautiful woman, of his marrying her on promise never to reveal her origin, of his other wives getting him drunk to learn who is this fertile co-wife with no known lineage, of her departure leaving a bit of horn with her children so they can all on her, on Oya, in time of need. There follow some words on Ifa divination: initially unaware of the problem, the diviner casts lots indicating one of, "256 windows looking out into Being" (p. 189), the configuration is praised by chanting and telling tales, and the client perceiving a similarity speaks specifically, drawing precise advice on offering to the divine. There is commentary on the Oya as Buffalo-Woman tale, and on spiritual reality in general. To create cultural forms expressive of various natural forces that have succeeded in calling attention to themselves is neither to invent nor, be it repeated, ultimately to control them. It is to lend them perceptual religious shape. p. 194 The author proceeds to the cross-roads, sacred also to Celts, to whom the triad is also special. At such intersections Malian hunters' communal mound-shaped altars are established. And it is at similar three-pronged forkings of trails in the bush that their portable individual altars are taken out of their leather bags and set upon improvised sacred surfaces of green leaves when they wish to communicate with their tutelary divinities, Sanene-and-Kontron. The leaves serve as a temporary plate upon which to serve Sanene-and-Kontron with water, fine millet meal, and red kola. p. 196 She then relates a tale disturbing in surface content, and, to this pagan reviewer, in the interpretation that has it reflecting monotheistic conquest. Among the details raised is that the seven day week is an Islamic replacement of the traditional four day market cycle and that to farmers those venturing into the untilled bush to hunt, though really having wives and children, are symbolically sterile. There follow more folktales about the huntress Sanene (Sanin) and her husband, son, or whatever, Kontron. Then there comes the tale of the Buffalo of Do and two hunter brothers. She speaks of balancing spiritual agencies within local Islam, of doubles and of cycles. The Bambara, like the Dogon, gauge accomplished epochs according to the revolutions of an all-but-invisible star, the relatively miniscule companion of brilliant Sirius. The word for "buffalo" in Bambara is sigi. Sirius is called "Buffalo-star," but it is the cycle of its dark companion that is called sigi. This cycle takes sixty years to complete. (The fifty-year cycle of Sirius is not considered metaphysically important.) p. 215 There is then more account of masquerade, including Buffalo and Python, as well as consideration of prehistoric (European cave and Saharan) art and of polytheistic awareness of the significance of the feminine. If the truth be known, in traditional African societies generally, as Glaze points out for the Senufo, the closer that spiritual leaders of both sexes move to critical situations vis-a-vis the unseen world, the "more secretive objects and events become, and the greater the role of women (real or mythological)." p. 219 The fourth and final part, "Observing the Passage" (pp. 229-296), considers beads, Santeria and the Oya personality type. An account is given of a Brazilian axexe (severing of a recently departed) with flasbacks a year previously to an axexe in New York. There are details such as agreement with the Chinese that white is the colour most appropriate for such an occasion, and the telling of prosaic and spiritual circumstances connected with these events. And, there are beads -- the beads separated in New York, Oya's ruunjebe necklace in Brazil and the royal necklace in ancient Dahomey. Oya is the only Orisha to arise out of the animal. And only she is willing to assume a mediating position between the living and the dead at funerals, because her animal nature protects her. Of the contamination of the dead the animal is "forever healed" because Death stands somewhere behind it, or inside it, not out there in a projected future. p. 250 There are interviews showing Americans feeling they have retained some cultural and spiritual elements perhaps forgotten in Africa. The author states that their Yoruba language is influenced by Spanish. Among the interesting details is this on ritual gatekeeping: Here one must hasten to say that the first Orisha to be saluted, no matter what the occasion, must always be Elegba: intermediary between everyday and spiritual worlds, the one who opens the way, but who without proper recognition may block it and cause all manner of confusion. p. 255 On page 305, the Glossary has this to say of Elegba: the Orisha of thresholds and crossroads, the intermediary, the messenger, the trickster, associated with the obligatory sacrifice and also with regressive behavior. Indespensible and primary presence to be invoked and placated before ritual occurrence or crucial personal decision making. p. 305 Pace Elegba, it reads as if the function of gatekeeping is permanently entrusted to one containing Loki's disposition, and this reviewer, a more mercurial northerner, is content our rituals are not so inflexible in this regard and there are those such as Heimdall and Manannan Mac Lyr who sometimes may be called upon to do this. These interviews provide insights from accomplished musicians and ritual performers, and there are songs in both Yoruba and in English. The final chapter is an interesting consideration of the issue of the personality type of one carrying Oya and the encouragement by Oya of the individual's balanced identity. It also mentions the place of community in an individua;'s life, and living in the greater society outside. This book is thoroughly fascinating, and its author of very high caliber. She has woven a very rich tapestry, strung an intricate round of beads, brightly informative at many levels. She has performed a very valuable service to all interested in this topic. She and the goddess she carries merit high honour. Solarguard Homepage Solarguard Africa
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