Shigidi, or Shugudu, is deified nightmare. The name appears to mean “something short and bulky,” and the god, or demon, is represented by a broad and short head, made of clay, or, more commonly, by a thick, blunted cone of clay, which is ornamented with cowries, and is no doubt emblematic of the head.
Shigidi is an evil god, and enables man to gratify his hate in secret and without risk to himself. When a man wishes to revenge himself upon another he, offers a sacrifice to Shigidi, who thereupon proceeds at night to the house of the person indicated and kills him. His mode of procedure is to squat upon the breast of his victim and “press out his breath;” but it often happens that the tutelary deity of the sufferer comes to the rescue and wakes him, uponwhich Sbigidi leaps off, falls upon the earthen floor, and disappears, for he only has power over man dur ing sleep. This superstition still lingers among the negroes of the Bahamas of Yoruba descent, who talk of being “hagged,” and believe that nightmare is caused by a demon that crouches upon the breast of the sleeper. The word nightmare is itself a survival from a similar belief once held by ourselves, mare being the Anglo-Saxon mære, elf or goblin.
The person -who employs Shigidi, and sends him out to kill, must remain awake till the god returns, for if he were to fall asleep Shigidi would at that moment turn back, and the mission would fail. Shigidi either travels on the wind, or raises a wind to waft him along; on this point opinions differ. The first symptom of being attacked by Shigidi, is a feeling of heat and oppression at the pit of the stomach, “like hot, boiled rice,” said a native. If a man experiences this when he is falling asleep, it behoves him to get up at once and seek the protection of the god he usually serves.
Houses and enclosed yards can be placed under the guardianship of Shigidi. In order to do this a hole is dug in the earth and a fowl, sheep, or, in ancient times with exceptional cases, a human victim was slaughtered, so that the blood drains into the hole, and is then buried. A short, conical mound of red earth is next built over the spot, and an earthen saucer placed on the summit to receive occasional sacrifices. When a site has thus been placed under the protection of Shigidi, he kills, in his typical manner, those who injure the buildings, or who trespass there with bad intentions.
Study the Teaching of Ifa and the Orisha's
Therefore, researching the possibilities of herbal use is recommended. It is best that novices seek out divination before attempting to get and prepare herbal formulas. It is also advisable to rely on priests and qualified herbalists to begin the healing process before getting involved with the properties and powers of herbs yourself.
(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.” 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 parrot was the pet of an untruthful woman, and she found the birds habit so inconvenient, that she at length decided to get rid of it.
One day a neighbour was passing her house, and the woman called out to him from the threshold to come and see the beautiful tame parrot which she intended to give him as a present.
The man asked her why she desired to part with so beautiful a bird, and to this the woman replied: Because it eats a great deal, and I am poor.
The parrot cried out. She lies!
The neighbour took no notice, thanked the woman, and returned home with the bird on his shoulder. When he reached his house, his wife asked him where he had found the bird.
As I came through the forest, it flew down and perched on my shoulder,â€ replied the man, but the parrot quickly cried out: He lies!
The man soon discovered how awkward it was to have such a truthful pet, and he was often tempted to wring the birds neck.
It happened that this man was dishonest, and stole a great many articles which he buried in a deep hole, unknown to anybody. He would have been quite secure but for the wonderful parrot.
When the thefts were discovered, a search was made in the manâs house, but nothing was found there. The searchers were therefore forced to consider that he was innocent. As they went out, they said to him: Are you sure you have not stolen these things?
I am sure! said the man indignantly; but the parrot cried out: He lies!
The man was so enraged that he seized the bird and twisted its neck, but the suspicion of the searchers was aroused, and eventually they discovered the hole, which was marked with a little stake, and all the stolen articles were found. Had it not been for the truthful parrot, the secret would never have been revealed.
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.
Ifa first appeared on the earth at Ife, He tried to teach the inhabitants of Ife how to foretell future events, but they would not listen to him, so he left the town and wandered about the world teaching mankind. After roaming about for a long time, and indulging in a variety of amours, Ifa fixed his residence at Ado, where he planted on a rock a palm-nut, from which sixteen palm-trees grew up at once.
Ifa has an attendant or companion named Odu (? One who emulates), and a messenger called Opele (ope, puzzle, or ope, palm-tree). The bandicoot (okete) is sacred to him, because it lives chiefly upon palm-nuts. The first day of the Yoruba week is Ifa’s holy day, and is called ajo awo, “day of the secret.” On this day sacrifices of pigeons, fowls, and goats are made to him, and nobody can perform any business before accomplishing this duty.
A priest of Ifa is termed a babalawo (baba-ni-awo), “Father who has the secret,” as the natives never undertake anything of importance without consulting the god, and always act in accordance with the answer returned. Hence a proverb says, “The priest who is more shrewd than another adopts the worship of Ifa.” As Ifa knows all futurity, and reveals coming events to his faithful followers, he is considered the god of wisdom, and the benefactor of mankind. He also instructs man how to secure the goodwill of the other gods, and conveys to him their wishes, His priests pluck all the hair from their bodies and shave their heads, and always appear attired in white cloths.
The general belief is that Ifa possessed the faculty of divination from the beginning, but there is a myth which makes him acquire the art from the phallic god Elegba. In the early days of the world, says the myth, there were but few people on the earth, and the gods found themselves stinted in the matter of sacrifices to such an extent that, not obtaining enough to eat from the offerings made by their followers, they were obliged to have recourse to various pursuits in order to obtain food. Ifa, who was in the same straits as the other gods, took to fishing, with, however, he had small success; and one day, when he had failed to catch any fish at all, and was very hungry, he consulted the crafty Elegba, who was also in want, as to what they could do to improve their condition. Elegba replied that if he could only obtain the sixteen palm-nuts from the two palms -that Orungan the chief man, had in his plantation, he would show Ifa how to forecast the future; and that he could then use his knowledge in the service of mankind, and so receive an abundance of offerings. He stipulated that in return for instructing Ifa in the art of divination, he should always be allowed the first choice of all offerings made. Ifa agreed to the bargain, and going to Orungan, asked for the sixteen palm-nuts, explaining
to him what he proposed to do with them. Orungan, very eager to know what the future had in store for him, at once promised the nuts, and ran with his wife Orisha-bi, “Orisha-born,” to get them. The trees, however, were too lofty for them to be able to reach the palm-nuts, and the stems too smooth to be climbed; so they retired to a little distance and drove some monkeys that were in the vicinity into the palms. No sooner were the monkeys in the trees than they seized the nuts, and, after eating the red pulp that covered them, threw the bard kernels down on the ground, where Orungan and his wife picked them up. Having collected the whole sixteen, Orisha-bi tied them up in a piece of cloth, and put the bundle under her waist-cloth, on her back, as if she were carryino, a child. Then they carried the palm-nuts to Ifa. Elegba kept his promise and taught Ifa the art of divination, and Ifa in his turn taught Oruno-an, who thus became the first babalawo, It is in memory of these events that when a man wishes to consult Ifa, he takes his wife with him, if he be married, and his mother if he be single, who carries the sixteen palm-nuts, tied up in a bundle, on her back, like a child; and that the babalawo, before consulting the god, always says, “Orugan, ajuba oh. Orisha-bi ajuba oh.” (“Orungan, I hold you in grateful remembrance. Orisha-bi, I hold you in grateful remembrance.”
For the consultation of Ifa a whitened board is employed, exactly similar to those used by children in Moslem schools in lieu of slates, about two feet long and eight or nine inches broad, on which are marked sixteen figures. These figures are called “mothers.” The sixteen palm-nuts are held loosely in the right hand, and thrown through the half-closed fingers into the left hand. If one nut remain in the right hand, two marks are made, thus | |; and if two remain. one mark, |. In this way are formed the sixteen “mothers,” one of which is declared by the babalawo to represent the inquirer; and from the order in which the others are produced he deduces certain results. The interpretation appears to be in accordance with established rule, but what that rule is is only known to the initiated. The following are the “mothers”:
This process is repeated eight times, and the marks are made in succession in two columns of four each.
No. 6 is No. 5 inverted; 8 is 7 inverted; 10, 9 inverted; 13, 12 inverted; and 14, 11 inverted. Meji means “two,” or “a pair,” and the following appears to be the meaning of the names:–(1) The close pair (buru, closely). (2) The removed pair (Yekuro, to remove). (3) The street pair (Ode, a street). (4) The closed-up pair (Di, to close up, make dense). (5) The squatting-dog pair (losho, to squat like a dog). (6) The cross-bow pair (oron, cross-bow). (7) The striped pair (abila, striped). (8) ?Vulture-pair (akala, vulture). (9) The pointing pair (sha, to point). (10) The pair ending downward (Ku, to end, da, to upset on the ground). (11) ?The top-heavy pair (Dura, to make an effort to recover from a stumble; opin, end, point). (12) The tattoo-mark pair (ture, name of certain tattoo-marks). (13) The edge pair (leti, on the edge of). (14) The folded-up pair (Ka, to fold or coil). (15) The opened pair (shi, to open). (16) The alternate pair (fo, to pass over, pass by, jump over, skip).
From these sixteen “mothers” a great many combinations can be made by taking a column from two different “mothers,” and figures thus formed are called “children.” Thus (13) and (2) and (11) and (10) make respectively-
The initiation fee paid to a priest for teaching the art of divination is, it is said, is very heavy, and moreover does not cover the whole of the expense; for the Oracle is, like Oracles generally, ambiguous and obscure, and the neophyte finds that he constantly has to refer to the more experienced priests for explanations of its meaning.
When a man is initiated the priest usually informs him that he must
henceforward abstain from some particular article of food, which varies with the individual.
Ifa figures in connection with a legendary deluge, the story of which, now adapted to the Yoruba theology, Some time after settling at Ado, Ifa became tired of living in the world, and accordingly went to dwell in the firmament, with Obatala. After his departure, mankind, deprived of his assistance, was unable to properly interpret the desires of the gods, most of whom became in consequence annoyed. Olokun was the most angry, and in a fit of rage he destroyed nearly all the inhabitants of the world in a great flood, only a few being saved by Obatala, who drew them up into the sky by means of a long iron chain. After this ebullition of anger, Olokun retired once more to his own domains, but the world was nothing but mud, and quite unfit to live in, till Ifa came down from the sky, and, in conjunction with Odudua, once more made it habitable.