During the time of slavery, many religions began to develop in Latin America, but one that became very large was Candomble in Brazil. In Candomble their sacred gods are called orishas, and they are continually being worshiped through ceremonies that consist of dances and sacrifices. The people who follow this religion participate in these ceremonies, but there are usually certain people who are specifically called to dress up according to the custom of a certain orisha and represent him/her. Acoording to Candomble, everyone belongs to a god, and they inherit the characteristics of that certain deity. Usually these followers believe that they behave depending on what orisha they are, and it is through them how they determine their failures and accomplishments (Prandi, Reginaldo 562). Each orisha has their own characteristics for instance, elements of nature, attire, songs, and food. Music and dance play a huge role during the ceremonies. They all have their own basic rhythm and pattern that is usually created through drums. There are hundreds of orixas, however, the goddess called Oya is one of the most unique because neither through her personality, dance, or music can one easily predict her. As mentioned in the book Oya: In Praise of the Goddess, by Judith Gleason, “it is Oya in her uniqueness who needs to be brought forth now, a uniqueness so complicated as to swirl even the mind of a votary who out to be able to deal with her vagaries and so reduce them to a certain coherence” (p.11)
(Figure 1)
Oya is also known as Iansã, and she is the goddess of wind, lightning, fire, and magic. She is very powerful through her persuasive charm and her determined personality. The elements that she represents contribute to the type of person she is. As constantly seen, wind, lighting, fire, and magic are things that can surprisingly behave violent and sudden, and they are also very powerful environment forces. Sons and daughters of Iansã are very sensual and lovable, but do not forgive any treason ( Prandi, Reginaldo p.562). She could be kind but also injurious. As mentioned by Gleason, “If we refuse to acknowledge her, she may unleash forces of destruction. If we grant the Goddess her due, she may compassionately guide us toward transformation” (p.10). This shows how Oya works very mysteriously and unpredictably, but also has a very determined personality. Her refusal against male authority is one thing that shows the determination and strength her personality has. In other words “she [refuses] to stay out of the enclaves of cult and culture preempted by male authority” (Gleason p.9).
Oya’s dance and custom also represent her uniqueness and sudden irrevocable change. The color red that she wears is extravagant and intense because of the way she represents it. As most of us know this color can go both ways, it can represent love, passion, or danger, and power. In the aspect of her dance she represents it in a very powerful and energizing way through her movements. Some of the symbols of the goddess are “buffalo horns, locust pod, fly whisk…machete, or special beads (coral, or brown glass beads with a black and a white stripe, altering with read beads, which “fix” their power” (Gleason p.6). Most of these represent the power, and they also fool the people who are watching her due to the fact that these symbols can go in different directions with their meaning.
(Figure 2)
Figure two is a slight example of her custom and movement. We can see through this image motion and speed. Her skirt has waves that create wind, and the wind can also be created through hands and possibly other parts of her body. One can see her firm posture and confidence. This image gives one a better understanding of how the color red is represented as energy and power. Her movements are the key to understand the type of orisha that she is. To experience briefly Oya’s movements one can look at this clip called Oya and Chango.
. From Otaomi
This video guides us into what we might expect from Oya. She moves quick and sudden usually carring a machete in her hands. Her feet move back and forth creating the circle of a hurricane and along with that her hands move in and out forming wind. Through some of her other movements, she teases people and also throws lighting. The fact that she knows how to tease others makes us realize that she falls into an unpredictable category, which is what makes her so unique.
(Figure 1)
Oya is also known as Iansã, and she is the goddess of wind, lightning, fire, and magic. She is very powerful through her persuasive charm and her determined personality. The elements that she represents contribute to the type of person she is. As constantly seen, wind, lighting, fire, and magic are things that can surprisingly behave violent and sudden, and they are also very powerful environment forces. Sons and daughters of Iansã are very sensual and lovable, but do not forgive any treason ( Prandi, Reginaldo p.562). She could be kind but also injurious. As mentioned by Gleason, “If we refuse to acknowledge her, she may unleash forces of destruction. If we grant the Goddess her due, she may compassionately guide us toward transformation” (p.10). This shows how Oya works very mysteriously and unpredictably, but also has a very determined personality. Her refusal against male authority is one thing that shows the determination and strength her personality has. In other words “she [refuses] to stay out of the enclaves of cult and culture preempted by male authority” (Gleason p.9).
Oya’s dance and custom also represent her uniqueness and sudden irrevocable change. The color red that she wears is extravagant and intense because of the way she represents it. As most of us know this color can go both ways, it can represent love, passion, or danger, and power. In the aspect of her dance she represents it in a very powerful and energizing way through her movements. Some of the symbols of the goddess are “buffalo horns, locust pod, fly whisk…machete, or special beads (coral, or brown glass beads with a black and a white stripe, altering with read beads, which “fix” their power” (Gleason p.6). Most of these represent the power, and they also fool the people who are watching her due to the fact that these symbols can go in different directions with their meaning.
(Figure 2)
Figure two is a slight example of her custom and movement. We can see through this image motion and speed. Her skirt has waves that create wind, and the wind can also be created through hands and possibly other parts of her body. One can see her firm posture and confidence. This image gives one a better understanding of how the color red is represented as energy and power. Her movements are the key to understand the type of orisha that she is. To experience briefly Oya’s movements one can look at this clip called Oya and Chango.
. From Otaomi
This video guides us into what we might expect from Oya. She moves quick and sudden usually carring a machete in her hands. Her feet move back and forth creating the circle of a hurricane and along with that her hands move in and out forming wind. Through some of her other movements, she teases people and also throws lighting. The fact that she knows how to tease others makes us realize that she falls into an unpredictable category, which is what makes her so unique.
Her music also gives one a slight idea of who she is. The rythms in her danced are played according to her movements, which change irrevocably. Some of the basic instruments used to make her music are usually through two to three atabaqu drums. The pattern of the rhythm can usually take a couple of minutes or even an hour to achive ( Shade, Michael 274). Particularly in Oya’s dance the drums are constantly forming a quick patter, but then again they could change instantly.
Oya has become very important in the lives of the people that follow her. She is a deity that it is admired by many especially women. It is said that fire and wind are considered feminine elements (Gleason 21). Due to the fact that Oya is powerful and resistant, most women go to her when they going through a harsh situation. Candomble was a form of resistance of the slaves and these orishas reflect their resistance. As said by Robert Voeks, “the struggle to retain a belief system represented a spiritual offensive in the large arena of resistance to the slave society” (p.118). Aside from the importance Oya has gained through her admirable power and strength, she is also very important and unique because as a woman warrior she deals with the souls of people. She is in charge of guarding the underworld where newly death souls go. As soon as someone dies, she takes their soul to the “other world.” As a woman Oya has many skills; however, the elements she represents have a stronger meaning than what many might think. Gleason mentions that “For millennia wind, fire, and water have been chanted as primary constituents of an inhabited cosmos. Everywhere on earth they have been symbolic oriented about the magical circle drawn to encompass that space within which we seek to find ourselves” (p. 18).
This African-originated religion that was established in Brazil has definitely expanded and has also become important to its followers through its orishas. Oya the goddess of the wind is one that because of her power and uniqueness, is worshiped my many. Her sudden change is what sets her apart from the other orishas, and this change is shown through everything that represents her starting from her custom, dance, and music.
Works Cited
Gleason, Judith. Oya: In the Praise of the Goddess. Boston: Shambhala Publications, Inc, 1987.
Prandi, Reginaldo. "African Gods in Contemporary Brazil." International Sociology 15.4 (Dec.
2000): 641. Academic Search Complete. EBSCO. Rivera Library, Riverside, CA. 6 May 2009.http://search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=5849009&site=ehost-live.
Shade, Michael. "4. South America: Brazil: CITIES: Salvador." Continuum Encyclopedia of
Popular Music of the World 3 (Jan. 2005): 273-280. Academic Search Complete.
EBSCO. Rivera Library, Riverside, CA. 6 May 2009.
Voeks, Robert. "Sacred leaves of Brazilian candomble." Geographical Review 80.2 (Apr. 1990):
118. Academic Search Complete. EBSCO. Rivera Library, Riverside, CA. 30 Apr. 2009
Stephanie Contreras
Ok, Stephanie. This was quite good. Thank you for taking the time to do library-based research!
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