Awonifa

Study the Teaching of Ifa and the Orisha's

Orunmila is an Irunmola and deity of destiny and prophecy. He is recognized as “ibi keji Olodumare” (second only to Olodumare (God)) and “eleri ipin” (witness to creation).

Orunmila is also referred to as Ifá (“ee-FAH”), the embodiment of knowledge and wisdom and the highest form of divination practice among the Yoruba people. In present-day Cuba, Orunmila is known as Orula, Orunla and Orumila.

Orunmila is not Ifa, but he is the one who leads the priesthood of Ifa and it was Orunmila who carried Ifa (the wisdom of Olodumare) to Earth. Priests of Ifa are called babalawo (the father of secrets)

Olodumare sent Orunmila to Earth with Oduduwa to complete the creation and organization of the world, to make it habitable for humans.

A woman will not be allowed to divine using the tools of IFA. Throughout Cuba and some of the other New world countries, Orula can be received by individuals regardless of gender. For men, the procedure is called to receive “Mano de Orula” and for women, it is called to receive “Kofa de Orula”. The same procedure exist in Yoruba land, with esentaye (birthing rites), Isefa (adolesants rites) and Itefa coming of age. Worshippers of the traditional religious philosophy of the Yoruba people all receive one hand of Ifa (called Isefa) regardless of which Orisa they may worship or be an Orisa Priest, it is that same Isefa that will direct all followers to the right path and their individual destines in life.

The title Iyanifa is in suspect since it is not used by either the Cuban or most of the West African practitioners of IFA.

Among West Africans, Orunmila is recognized as a primordial Irunmole that was present both at the beginning of Creation and then again amongst them as a prophet that taught an advanced form of spiritual knowledge and ethics, during visits to earth in physical form or through his disciples.

Yoruba Fokelore

Spacemen in Yorubaland

This is a curious article that appeared in a Nigerian Newspaper:

Have you taken a long, hard look at the typical masquerade? And an equally long hard look at the typical American astronaut or Russian cosmonaut?

Have you noticed the curious semblance between the two? The face piece, especially?

Can there possibly be a connection between, say, Yuri Gagarin, the 'first man in space' and a common Yoruba Tombolo (type of masque) cartwheeling to the cheers of a market crowd?

Curiously, the Yoruba call the masquerade ara orun (visitor from heaven. But, is the astronaut not an ara orun too? After all, he travels in deep space (the heavens ñ even farther than conventional planes).

Could it be that the cult of Egungun (masquerade) really is in remembrance of beings who in the ancient past travelled form the 'heavens' to the earth? Yoruba tradition interprets ara orun (masquerades) as spirits of long-dead fathers returned to visit their offsprings on earth.

But why call such spirits ara orun rather than oku orun (spirit of the dead). Oku orun is more descriptive of someone who is in heaven in consequence of having died here on earth.

Ara orun suspiciously sounds like a "living being" naturally resident in 'heaven' but who elects to visit the earth.

The 'Ara' part of the name, in Yoruba means a 'resident of' or a 'visitor from'.

Interestingly, from Yoruba folklore comes a song that sounds very relevant to this discourse. It evidently recounts an encounter between an earthman and an Ara Orun. The song goes:

Lead: Ara Orun, Ara Orun Chorus:Inomba ntere tere nte inomba Lead: Kilo wa se ni nile yi oo? Chorus: Inomba ntere tere nte inomba Lead: Emu ni mo wa da Chorus: Inomba ntere tere nte inomba Lead: Elelo lemuu re o Chorus: Inomba ntere tere nte inomba Lead: Okokan Egbewa Chorus: Inomba ntere tere nte inomba Lead: Gbemu sile ki o maa loo Chorus: Inomba ntere tere nte inomba.

Translated as:

Lead: Visitor from (the) heaven(s), visitor from (the) heaven(s) Chorus: Inomba ntere tere nte inomba Lead: What do you seek in this land? Chorus: Inomba ntere tere nte inomba. Lead: I've come to tap palmwine. Chorus: Inomba ntere tere nte inomba. Lead: How much do you sell your palmwine? Chorus: Inomba ntere tere nte inomba. Lead: Ten thousand cowries per keg. Chorus: Inomba ntere tere nte inomba. Lead: Put the palmwine down and go.

It is clear from the mood of this encounter that the ara orun or visitor from (the) heaven(s) being addressed is not a ghost. The Yoruba have a more appropriate name for ghost.

It is Oku.

Again, the average Yoruba man does not care to hold dialogue with an oku. He (or she) is more likely to flee in terror. However, our earthman here is clearly under the influence of plain curiosity ñ as opposed to dark terror: "What was the mission of the ara orun? He wanted to know.

Again, why did the earthman call the entity Ara Orun? Did he see the entity descend from the skies (Heaven)?

In fact, the use of ile yi (this land) while asking the being his mission shows that the Ara Orun was a total alien. That's how the Yoruba use the word.

Fortunately again, the Ara Orun discloses his mission: To tap palmwine. Hardly anything one will call spiritual. That dispels any notion that the alien was probably a spirit being or an 'angel'.

So, our alien was flesh enough to be capable of relishing the taste of palm wine or was from a land (or world) where palmwine is so appreciated.

Back to the question, how did the earthman recognise the alien as being from 'Heaven'. Did he see him float down from the 'skies'? It should be noted that the Yoruba have the same word ñ Orun ñ for both sky and heaven (supposed abode of good people and Olodumare). Some times though, they take extra pains to use oju orun to distinguish the skies; so did the Earthman see this being descend?

Again, a portion of his song suggests just "descent." We must, however, admit that at this stage, we are at the level of conjectureñ but reasoned conjecture.

This portion of the song is the part of the chorus: Ntere tere nte. What does tere nte connote in the Yoruba language.

For answer, we refer to yet another folklore. this one comes from the Ifa literary corpus.

According to the story, reports reached Orunmila, the Yoruba divinity of wisdom that one of his wives was having an affair with a male mammy water (Pappy Water?)

A naturally enraged Orunmila then trailed the unfaithful woman to the couple's rendezvous at a sea shore or river bank. He caught them in the act ñ and opened fire on (or macheted) the half-fish-half-man.

Wounded the casanova fell back into the deeps and moments later, the water surface hen blood went blood-red.

Now in great sorrow, the apparently unrepentant woman burst into a dirge for for her lover.

Lead: Oko omi, oko omi o. Chorus: Tere na. Lead: Oko mi Oko mi o. Chorus: Tere na. Lead: Ogbe mi lo terere. Chorus: Tere na. Lead: Ogbemi lo tarara. Chorus: Tere na. lead: O tarara Oju omi Chorus: Tere na. Lead: Oju omi a feroro. Chorus: Tere na. Lead: Eja nla hurungbon. Chorus: Tere na. Lead: Oju eye perere. Chorus: Tere na. Lead: My love, my dear love. Chorus: Tere na. Lead: He bore me far, far away (into the sea) Chorus: Tere na. Lead: He bore me far, far (back from the sea). Chorus: tere na Lead: Along the highways of the waters. Chorus: Tere na. Lead: The expansive, limitless waters. Chorus: Tere na. Lead: The mighty bearded fishman Chorus: Tere na.

Tere re in this song clearly indicates "great distance", the great distance the lovers covered as they traversed the waters during their illicit affair.

The other part of our original words: is easily clearer. In Yoruba, Nte connotes "floatation", "high" or "air-borne".Thus we have Lori Oke tente (on the very top of the hill), Ate (a hat worn on the very top of the head. And ole tente (it floats pretty).

Thus, a combination of tere and nte suggests something "floating down, air-borne form great distance, from far away."

Thus what the Tere nte chorus is probably telling us is that this visitors from the heavens, this aliens, floated down from a great distance.

We can now wonder. Did the Yoruba, indeed , Africans, make contact with space being or extra-terrestrials in the ancient past? And did they preserve these encounters in their folklore and folksongs?

I was still "brain-storming" over all these, digging into litreatures on Egungun and allied matters when a most fortunate clue literally fell on my laps.

There is this weekly Ifa programme on the Broadcasting Corporation of Oyo State (BCOS). Anchored by Wale Rufai, it features stories from the Ifa corpus by an Ifa priest, Gbolagade Ogunleke Ifatokun.

Being one of my favourite programmes, I was listening on Wednesday November 20, last year when a brief digression in the discussion brought up the issue of the mutual respect between the Ifa priesthood and the Egungun cult. Ifatokun, declared flatly that an Egungun must never whip an Ifa priest. (Egungun o gbodo na Babalawo), especially by reason of an ancient alliance between Orunmila (founder of the Babalawo school) and the Egungun at a time in the ancient past when the Earth was threatened by a deluge of Ifatokun's story held me spellbound.

According to him, the real meaning of egungun is Mayegun that is, "keep the world in order" or "those who keep the world running smoothly."

In the distant past, Ifatokun related, there occurred a deluge, which threatened all life on earth.

Seeing the earth so imperilled, Orunmila, and other (Irunmales the divinities) who were resident on Earth then, sent an S.O.S. to Orun, (Heaven).

In response, the Ara orun, came to the Earth in special costumes.

These costumes, said Ifatokun, had the unique property of drying up any portion of the inundated earth over which they were swung.

The "Egungun" cult sprang from this incident of the invitation of these heavenly beings.

The special and elderly egungun who wear imitations of these today are called Babalago, Ifatokun said.

So, the Egungun (Mayegun) cam from orun (heaven, Space) to rescue aye (Earth) form the deluge.

The modern interpretation of the Ifatokun story is glaring:

When the deluge hit the Earth, extraterrestrial beings resident on Earth, among whom was Orunmila, himself, sent an S.O.S to their home planet. And in response, extraterrestial hydrologists landed on Earth in spacesuits (and, by inference, space craft) to rid the Earth of the excess water!.

Of course, the matter does not end here. Some sailent questions have been raised, especially by this last account.

For instance, was Orunmila truly an extraterrestial? Were the Irunmales or Orisas, extraterrestials? The answer is Yes.

However, that is another story...

Story originally published by The Guardian - Nigeria By Yemi Ogunsola

Yoruba Concepts

Five ancient concepts are essential to an understanding of Yoruba aesthetics.

(1) Ase means “power” or “authority”. However, the meaning of Ase is extraordinarily complex. Ase is used in a variety of contexts. One of the most important meanings is the “vital power, the energy, the great strength of all things.”11 Ase also refers to a divine energy manifest in the process of creation and procreation. Ase invests all things, exists everywhere, and is a source for all creative activity. Again, Ase often refers to the inner power or “life force.” Ase also refers to the “authority” by which one speaks or acts.

(2) Ori is the “inner spiritual head” in humans or “personal destiny,” not mind or soul as these terms are used in the West. But Ori can mean the enabling power that represents the potential that life contains.

(3) Iwa can mean “character” or “essential nature.” Two classifications of usage of Iwa are generally recognized: the ontological-descriptive and the ethical evaluative. The ontological-descriptive meaning enables one to identify the quantitative existence of a person as revealed by their behaviour, the “lifestyle” or manner in which they exist in the world. The ethical-evaluative meaning represents a qualitative judgment of how good or bad is their iwa.

(4) Ewa is an aesthetic term as well as an expression of iwa, a person’s essential nature. Ewa means “beauty”, referring in some contexts to physical beauty of a person or object, but mostly to the qualities of beauty of a person or object. The term can be used to describe how a work of art captures the essential quality of the subject.

(5) Ona means “art” or it can refer to an artist’s ability to create or design. In Yoruba “art” cannot be defined outside of the context of the processes of creation, the purpose of creation, and the skill of the artist in capturing the first two contextualities in order to produce a physical object that embodies meaning.

The Twin Brothers

CERTAIN Yoruba King, Ajaka, had a favourite wife of whom he was very fond; but, alas for his hopes! she gave birth to twins.

At that time it was the universal custom to destroy twins immediately at birth, and the mother with them. But the King had not the heart to put this cruel law into execution, and he secretly charged one of his nobles to conduct the royal mother and her babes to a remote place where they might live in safety.

Here the twin brothers grew to manhood, and loved one another greatly. They were inseparable, and neither of them had any pleasure except in the company of the other. When one brother began to speak, the other completed his phrase, so harmonious were their thoughts and inclinations.

Their mother, before she died, informed them of their royal birth, and from this moment they spent the time vainly regretting their exile, and wishing that the law of the country had made it possible for them to reign.

At last they received the news that the King their father was dead, leaving no heir, and it seemed to the brothers that one of them ought to go to the capital and claim the throne. But which?

To settle this point they decided to cast stones, and the one who made the longer throw should claim the throne, and afterwards send for his brother to share in his splendour.

The lot fell on the younger of the twins, and he set off to the capital, announced himself as the Olofins son, and soon became King with the consent of all the people. As soon as possible he sent for his brother, who henceforth lived with him in the palace and was treated with honour and distinction.

But alas! jealousy began to overcome his brotherly affection, and one day as he walked with the King by the side of the river, he pushed his brother suddenly into the water, where he was drowned.

He then gave out in the palace that his brother was weary of kingship, and had left the country, desiring him to reign in his stead.

The King had certainly disappeared, and as no suspicion fell on the twin brother, he was made King and so realized his secret ambition.

Some time later, happening to pass by the very spot where his brother had been drowned, he saw a fish rise to the surface of the water and begin to sing:
Your brother lies here,
Your brother lies here.

The King was very much afraid. He took up a sharp stone and killed the fish.

But another day when he passed the spot, attended by his nobles and shielded by the royal umbrella made of the skins of rare animals, the river itself rose into waves and sang:
Your brother lies here,
Your brother lies here.

In astonishment the courtiers stopped to listen. Their suspicions were aroused, and when they looked into the water they found the body of the King.

Thus the secret of his disappearance was disclosed, and the wicked brother was rejected in horror by his people. At this disgrace he took poison and so died.

Ifa Related

The Story of Biague

There was an Awo called Biague who had a son named Adiatoto, Biague had taught this son his only
secret. A method to cast Obi (coconut)

In the house of Biague, there lived several other children, They obeyed Biague, he feed and clothed
them. But only Adiatoto the smallest was his son. All lived as brothers. One day Biague died, and the
adoptive children conspired against Adiatoto, and robbed him of all his belongings. Adiatoto
experienced much difficulty.

After a time, the king of the town, Oba-Rey, wanted to find out who owned the lands that had belonged to Biague.

He ordered his men to find this out. Many came forward and made a claim on the lands, including the
adoptive brothers but no one could pass the test, and prove ownership.

Adiatoto heard the news that the king’s men had been asking about him.
When they appeared before him, they asked him to show the secret that proved the lands had been
passed on to him. he said: “The lands belong to me, I will go to the plaza in front of the wall and from
there I will throw coconuts in the method my Father showed me.The coconuts will fall facing up
which is the proof that is needed. Thus is was, and the King gave Adiatoto all the lands and
belongings that had been taken from him

The coconuts (obi), have a limited role in divination
This role is limited to questions that can be answered with a simple yes or no
It should not be used to ask other more complex subjects.
The message given by consulting the Obi depends on which pieces fall facing up, and which face down.

Alafia, the four pieces with the white mass upwards. Definitely an affirmative

Eyeife, two pieces with white mass upwards and two with the crust, this is the most firm response

Otagua, Three pieces with white mass upwards and one with the crust. Some consider this to be an affirmative response. Some others view it as questionable, requiring another throw to rectify.

Ocana, Three pieces with crust upwards and one with the white mass,

Ocanasorde, Four crusts, a definite negative, and requires more question to isolate and problems that need immediate attention.

La Historia De La Letra del Ano

Historia de la Ceremonia de la Letra del Año


La Ceremonia de la Letra del Año es el evento religioso más importante que se lleva a cabo por los Babalawos, tanto en Cuba como en Nigeria, aunque en fechas diferentes, por lo que debe ser del conocimiento de todas las personas que se preocupan por la cultura Yoruba.

No cuestionamos, ni cuestionaremos jamás lo que hacen los hermanos de las diferentes ramas religiosas dentro de su Ilé Osha, tanto en Cuba como en el mundo; pues merecen todo respeto y consideración hacia la identidad y diferenciación que puedan tener según sus códigos culturales.

Cuba es el territorio donde mejor se conservan las tradiciones culturales de esta religión que nos fuera legada por nuestros ancestros esclavos traídos desde África a finales del siglo XVIII. Esto se debe en gran medida a los esclavos pertenecientes a la etnia Yoruba, en específico los de las religiones de los Orishas e Ifá. En nuestro país esta religión es considerada como Religión Cubana de Origen Africano teniendo en cuenta, a través de la historia, los elementos tradicionales rescatados por nuestra población religiosa; elementos que han sido conservados y revitalizados y que por su apego popular han llegado a formar parte de nuestra cultura y de nuestra identidad nacional.

Esta religión, como la vida ha demostrado, se ha trasladado desde Cuba a cualquier región o país del mundo, de una forma natural y espontánea sin perjudicar la religión en general. Por el contrario, ha tenido un intercambio que le da riqueza a la religión y a la cultura, pues exportar una tradición como esta que se caracteriza por no hacer proselitismo "la convertirá en la religión del Siglo XXI", como expresara el Prof. Wande Abimbola (AWISE ABAGE, Inspector general de la religión Yoruba en el mundo), expresión con la que estamos completamente de acuerdo.

Nuestra Institución ha estado luchando desde hace muchos años por la unidad de todos los practicantes de la Regla Osha e Ifá del mundo en los aspectos más importantes y generales donde la Letra del Año tiene un papel fundamental.

En cuanto a este último aspecto hemos tratado de unificar a todos los religiosos sin lograr hasta el presente un resultado final. Esto es debido a que los patrones de cada practicante en ocasiones se vuelven absolutistas y es posible que no se haya pensado en que al rechazar la unificación y no tomar una decisión positiva no se hayan tenido en cuenta las dificultades que ocasionan. Y no sólo atañen a una persona, a un grupo institucional o familiar, sino que se daña una religión que nos fue legada por nuestros antepasados y forma parte del patrimonio que debemos respetar y preservar seriamente.

Se ha tratado de hacer un trabajo de unificación para llegar a un consenso en cuanto a la Letra del Año. Nos referimos a un sistema adivinatorio de probabilidades y es por esta razón que cada ceremonia da por resultado la regencia de distintos Orishas y odun en el año. Las personas, creyentes y no creyentes, se ven confundidas, no saben en quien creer, ni por cual letra regirse. Lo que hace que pierda credibilidad, prestigio y se considere que a nuestra religión le falta seriedad, respeto y la unión por la que luchamos.

Historia
Desde sus inicios las investigaciones cuentan que la Letra del Año comenzó a sacarse a finales del siglo XIX, sin poder precisar la fecha exacta. Por datos y documentos se nos revela que Babalawos procedentes de las diferentes ramas religiosas existentes en el país comenzaron a reunirse para efectuar con todo rigor las ceremonias establecidas, que concluían el primero de enero con la apertura del la Letra del Año.


A través del Oráculo de Ifá se daban a conocer las orientaciones y recomendaciones que debían cumplirse durante ese año, con el fin de evitar o vencer los obstáculos y las dificultades. Por esta razón la primera Letra del Año que se realizó en Cuba la efectuó el Babalawo Remigio Herrera, Obara Meyi, Adeshina, de origen africano, apoyado fundamentalmente en cinco de sus ahijados, a saber:

Marcos García Ifalola Baba Ejiogbe
Oluguere   Oyeku meji
Eulogio Rodríguez Tata Gaitán Ogundafun
José Carmen Batista   Obeweñe
Salvador Montalvo   Okaran Meji
Bernardo Rojas   Ireteuntendi

Es bueno señalar que algunos de los ahijados de Adeshina tenían como Oyurbona a Oluguere que era también de origen africano.

En el año 1902, por problemas de salud de Adeshina, Tata Gaitán asume la responsabilidad de la Letra del Año apoyado por los Babalawos antes mencionados y participando además:

SecundinoCrucet Osaloforbeyo
Bernabé Menocal Baba Ejiogbe
Quintín Lecón García Oturaniko
José Asunción Villalonga Ogundamasa


Igualmente contó con la participación de casi todos los Babalawos de esos tiempos. Aunque la ceremonia siempre se realizaba con la mayor discreción posible y en privado; ya que en el gobierno imperante, todo este tipo de prácticas de creencias africanas estaban consideradas como un delito común dentro del código penal. Por esta razón en algún que otro año se trató de disminuir la participación masiva de Babalawos y se invitaban a los jefes de familia con sólo uno de sus ahijados.


El 9 de mayo de 1959 fallece Bernardo Rojas y su sucesor, el Dr. José Herrera, hereda las deidades de Adeshina y la responsabilidad de la Letra del Año. Tomando en consideración que Joaquín Salazar era el Babalawo mayor y Obá de la rama, el Dr. Herrera le cede la dirección de la apertura del año; llevándose a cabo con la misma efectividad y rigor religioso que las anteriores ceremonias correspondientes a la Letra del Año.

Las actividades en estos años fueron realizadas bajo la dirección de Joaquín Salazar y la rama Adeshina, representada por el Dr. José Herrera.

Posteriormente Joaquín Salazar y otros mayores se dieron a la tarea de reorganizar nuevamente las ramas tradicionales existentes. De esta forma se volvió a ampliar la participación en la Letra del Año a todos los Babalawos. Es así como fueron llamadas, entre otras, las ramas que siguen a continuación:

Rama Nombre Signo Representación Signo Ifabi
Francisco Villalonga Ogunda Kete Ángel Villalonga Ogundaleni
Adeshina Remigio Herrera Obara Meji Fernando Molina Baba Eyiogbe
Ño Karlo Adebi Ojuani Boka Ángel Padrón Baba Eyiogbe
Pericón Pérez Ogbe Yono Alejandro Domínguez Osa Guleya



La letra que se interpreta en la ACYC hace ya algunos años, es la realizada por los Babalawos del país con mayor cantidad de años de iniciados y que desde su comienzo lo han hecho de forma ininterrumpida hasta la actualidad.

Las ramas más tradicionales del siglo XIX y del comienzo del XX estuvieron dirigidas por Babalawos africanos que después delegaron esta responsabilidad en sus sucesores cubanos.

No pretendemos centrar ni establecer tradiciones, sino defender la legitimidad de las ya existentes, transmitidas de generación en generación.

Nos satisface sobremanera que la Santería, "Regla Osha e Ifá, fructifiquen en cualquier territorio del mundo, con la misma fuerza que lo han hecho otras Religiones Cubanas de Origen Africano, que son las que hoy constituyen su fortaleza, como son por citar algunas, el vodú y el palo monte, siempre y cuando no exista en su trasfondo una base de proselitismo y el ánimo de lucro y comercialización.

Aprovechamos la oportunidad para dar a conocer nuestra inconformidad con el sacrificio público de animales, que realizan muchas personas en cualquier latitud en distintos festivales, eventos, espectáculos, videos etc., por una razón muy sencilla pero fundamental, no creemos que para llevar a cabo estos menesteres públicos de envergadura sea necesario llegar al sacrificio de animales, máxime cuando nuestra religión cuenta con tantas bellas manifestaciones y expresiones culturales posibles de exhibir..

Somos de la opinión que aquellos que se han prestado para ofrecer este tipo de actividades, no tienen bien definida su religiosidad, pues debemos tener muy presente que no todos los elementos de la cultura y la religión de un pueblo son comercializables, así como que no todos los habitantes del planeta deben tolerar la realización de un tipo de espectáculo de esta envergadura, pues su visión sobre esta cuestión es bien diferente y en ocasiones muchos son afiliados de asociaciones protectoras de animales, lo que conlleva a que su opinión sobre estos actos sea denigratoria, lo que en lugar de enriquecer nuestra cultura la lleva a su detrimento.

La Historia de la humanidad refiere, que todas las religiones en sus inicios sacrificaban seres humanos, pasando posteriormente de acuerdo a su mitología y patrones al sacrificio de animales, los que posteriormente fueron sustituidos por algún elemento que suplantara este sacrificio, no siendo el caso de las religiones de origen africano que hasta nuestros días siguen utilizando en su ceremonial secreto el sacrificio de animales.

Muchas son las personas que equivocadamente o erradas se aprovechan ahora de la popularidad que ha adquirido esta religión en Cuba y nos atrevemos a decir que en el mundo, para utilizarla como medio de lucro y de enriquecimiento, cuando anteriormente estás mismas personas la consideraban como cosas de negros, de personas atrasadas y de oscurantismo.

Sepan que le reservamos gran respeto a todas las religiones con las que cuenta la humanidad, que no nos preocupa que alguien que no se respete, hable mal de otra religión para que la suya prevalezca, al contrario nos da pena de que alguien tenga que utilizar este medio para que su religión florezca pues eso deja mucho que desear y se puede interpretar que su religión no está lo suficientemente fuerte ni tiene principios sólidos que sustentar.

El respeto es la base de la vida y cada persona es libre de escoger su credo y su línea a seguir ya que entre los seres humanos debe primar el respeto y no el intrusismo en la vida de cualquier semejante sea profesional o no, y en mayor medida si se trata de su fe religiosa.

Somos creyentes de una de las religiones más antiguas con las que cuenta la humanidad, ya que hoy en día se conoce que el lugar donde hubo vida humana por primera vez en la existencia de la humanidad fue en el continente africano y precisamente en la ciudad sagrada de los Yoruba (Ilé Ifé), procuraremos que esta no sea manipulada y ni sea objeto de espectáculo sólo porque a algunos les interese hacerlo.


JUNTA DIRECTIVA ASOCIACIÓN CULTURAL YORUBA DE CUBA

This article is reprinted with the permission of the Cuban Yoruba Cultura Association.
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UNESCO Proclamation

Ifa Divination System in Nigeria The Ifa divination system, which makes use of an extensive corpus of texts, is practised among Yoruba communities. The word Ifa refers to the mystical figure Ifa or Orunmila, regarded by the Yoruba people as the deity of wisdom and intellectual development. In the twelfth century, the city of Ile-Ife, located in the Osun region of the South-west of Nigeria, emerged as the cultural and political centre of this community. It is also practised by the African diaspora in the Americas and the Caribbean. img In contrast to other forms of divination in the region that employ spirit mediumship, Ifa divination does not rely on a person having oracular powers but rather on a system of signs that are interpreted by a diviner, the Ifa priest orbabalawo, literally “the priest’s father”. The Ifa divination system is applied whenever an important individual or collective decision has to be made. The Ifa literary corpus, called odu, consists of 256 parts, which are subdivided into verses called ese, whose exact number is unknown as it is in constant growth (ther are around 800ese per edu). Each one of the 256 odu has its specific divination signature, which is determined through a procedure held by thebabalawo using sacred palm-nuts and a divination chain. The ese, considered as the most important part of Ifa divination, are chanted by the priests in poetic language. The ese reflect Yoruba history, language, beliefs, cosmovision and contemporary social issues. The knowledge of Ifa has been preserved within Yoruba communities and transmitted among Ifa priests. Under the influence of colonial rule, traditional beliefs and practices were discriminated. The Ifa priests, of whom most are already advanced in age, have only little means to maintain the tradition, to transmit their complex knowledge and train future practitioners. Thus, there is an increasing lack of interest among the youth and the Yoruba people in practising and consulting Ifa divination, which goes hand-in-hand with growing intolerance towards divination systems in general.

UNESCO website