Exú

Exú is the messenger to all the orixás; the connection between humans and the divine Candomblé gods. As a messenger or servant, Exú creates interaction between the natural and the divine. Exú is also known as the trickster. Candomblé followers must be cautious around Exú, for if taken too seriously, one will get burned; however, if he also is not attended to, he will be angered (Merrell 11). To completely understand Exú in full context, one must look at some details and background as well as his dance and ritual symbols. Exú is best recognized as the communicator of the orixás and his dance and rituals symbolically depict his most prominent characteristics.

Jim Wafer, an American Anthropologist and Ethnographer, studied Afro-Brazilian Candomblé in Salvador (Bahía). He explains that even though Exú is considered an orixá, he is given special treatment and is singled out. For example, in a terreiro, or a religious center, Exú’s ritual objects are kept in the front of the center, as he is summoned first. His ritual objects are to be kept separate from the other orixás because he has a distinct way of materializing into the human body. Exú’s distinct way of summoning and incarnation from the other deities could be perceived as two different worlds. By having his own social world, Exú lives with a multiplicity of other exus, each differentiated by age, sex, status, name and personal qualities (Wafer 9).

It is said for each orixá to have its own exú. This exú is said to be the same sex of the orixá. Because of this, initiates that receive and orixá also receive its corresponding exú as well. Despite existing male and female exus, the usual sexual association is masculine, with the phallus as the symbol for the orixá (Wafer 17).

Exú is also referred to as ‘devil’. This does not entail that Exú is evil from a Christian perspective, rather he is an interpretation in terms of Candomblé culture. Christianity and Candomblé differ in that their universes are structured differently. For example, the Christian universe has hell underground, earth in the center and heaven above the sky. Candomblé requires a continuum between matter and spirit in which entities live; humans being considered 'matter' and orixás the spirits. All spirit entities are above matter but there is a particular hierarchy which the orixás follow, determined by their accessibility to 'matter'. Consequently, Exú would be that orixá closest to the 'matter' (Wafer 14).

A common example of Exú as a trickster is told in a popular story: Exú was walking past two men, one with a two-sided hat on his head. The first time he passed, he revealed the red side, and passing in the opposite direction, the orixá revealed the black side. This caused a heated argument between the men, debating which was the hat’s true color (Johnson 39). This story is the perfect example of Exú causing discord and chaos. He is keen and clever, and these qualities shine through his tricks. As the inlocutor between the orixás and humans, initiators of Candomblé summon Exú with offerings and quickly renounce him, as he will cause havoc during the rest of the ceremony (Johnson 39).

In addition to Christian and Candomblé universal structure, there is also differing beliefs in good and evil. Christians believe that God of heaven is good while Satan of hell is evil. To better understand Exú’s association with the Christian devil, one must know all Candomblé spirits as demons. Exú is capable of committing good or evil, thus he is to be persuaded to do good for oneself or others by making offerings to him. He can also be persuaded to commit evil also by making offerings; this however has consequences, which include probable retaliation and war of the spirits (Wafer 15). Exú may be associated with Satan after syncretism emerged in Brazil, but in actuality, he is not evil. Exú is neither good nor evil. The most human of the orixás, Exú is not given such characteristics. All in all Candomblé values are not like those of customary Western forms where such principles as true and false and good and evil thrive (Merrell 3).

Candomblé, as many may see it, is not only a religion, but it is a way of life. During the time of the Portuguese conquest of Brazil during the 16^th Century, early Candomblé was perceived by the European explorers to be a cultish and irrational practice of African slaves. However, it eventually took an important role in African lives as it became a symbol of nonconformity and preservation of culture (Merrell 107). When performing Candomblé as far as worshipping orixás, percussion plays an extremely important role. Atabaques, or drumming rhythms (also used in Caper) have different variations for each orixá (Merrell 110).

In addition to atabaques, the orixás require food and dance for worship and summoning. During public festivals and private obligations there would be blood sacrifice. Exú consumes anything hot, such as palm oil, liquor or money. Nevertheless, all participants bring contributions for offerings. Raw materials are not offered to orixás but prepared foods only (Johnson 133).

Exú can be differentiated from the other orixás because his colors are black and red and he usually wears or holds a phallic symbol on his head or in his hand. His dance consists of turns and hops or jumps. He also uses his hands in an up and down motion, extending in and out in a sway. He often lets out a loud laugh, showing his trickster talents.

Exú is a rebel in that he does not take one appearance. By taking a diversity of physical characteristics and not conforming to labels, Exú proves to be a free spirit. By tricking people, Exú inexplicitly proves something to those he tricked. By tormenting and playing games, he is leading people to understand their strengths (Merrell 150).

Recognizing all of Exú’s attributes and details can get complicated, but it is important to understand his role in Candomblé practices. As the messenger to the gods, he is the connection between the natural and divine. His dance depicts this role as both messenger and trickster. Calling upon Exú during the Candomblé ceremony can perhaps be one of the most important rituals, as it initiates the start of orixá worship.

Work Cited:

Merrell, Floyd. Capoeira and Candomblé: Conformity and Resistance through Afro-

Brazilian Experience. Philadelphia: University of Pennsylvania Press, 1991.

Merrell, Floyd. “Exú: Trickster by Default”. Trickster’s Way. 2 (2003): 1-29.

Dspace.lasworks.org. 2003. Purdue University. 4 May 2009.

.

Johnson, Paul C. Secrets, Gossip, and Gods: The Transformation of Brazilian

Candomblé. New York: Oxford University Press, 2002.

Wafer, Jim. The Taste of Blood: Spirit Possession in Brazilian Candomblé. Philadelphia:

University of Pennsylvania Press, 1991.

Alex Pernudi