Odofemi
Morgan M Page (Odofemi) -- Hot Trans Feminist Babe, Santera, Writer, Artist, Married to a Ukulele named Dreamwife. This is where I put all of the stuff that I'm thinking about (obsessively, in the middle of the night). Toronto. http://odofemi.com/
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While Oshun’s children can be the sweetest people on Earth, they can also behave in a very ugly fashion. They are known to hold grudges and avenge themselves in often vicious ways. You will find many a priest who will proclaim the children of Oshun as the masters of gossip, witchcraft and deceit. This behaviour, no matter how horrible it may seem, is also the mark of Oshun. Her children often have had to fight hard to get where they are, overcoming many obstacles, but also pushing a great deal of negativity below the surface. It is sometimes easier in the short term to deny pain or hold tight to prejudice in order to get by. Oshun’s children cannot understand why others do not think the way they do. They assume that everyone should like what they like or abominate that which they find distasteful (or that which may hit too close to home). Often their stubbornness and narrow mindedness is the only thing that has kept them going. To paraphrase Vera Donovan in Stephen King’s Delores Claiborne: “Sometimes you have to be a high riding bitch to survive.Shloma Rosenberg Afolabí Awoyoyomí (iba’ye layen t’onu) writing on the children of Oshun, the Orisha I am a priestess of.
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Photo reblogged from Esu Travels
Cuba - Phyllis Galembo
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I don’t have any problem with that. If the person is initiated and is a priest or priestess, whatever change he or she decides to make with his body, that’s their thing…. One of the first people to be initiated in this country was transsexual. She was initiated as a woman. She was a child of Oshún.Shloma Rosenberg, Afolabí Awoyoyomí (iba’ye layen t’onu), Priest of Yemoja Assesu with 19 years in Ocha. Quoted as ‘anonymous Santero’ in Queering Creole Spiritual Traditions (2004) by Randy P. Conner with David Hatfield Sparks.
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The most elaborate of the panels are unique to Lukumi religion and may have originated (and lately evolved a great deal) as an orisha art form in Miami in the 1980s. Generally, they are specially made and richly decorated, with the artist making use of a multiplicity of aesthetic elements to bring out the nature and predilections of the orisha for whom the panel is intended. Rhinestones, beads, cowries, pearl, different types of cloth, and various sorts of metallic trimmings have become the preference. Playing on orisha-related themes and motifs, using textiles of the colors associated with the orishas, their attributes, and elements related to their earthly domains, their relationship with nature, their totemic animals, their emblems, all or some of which may be selectively depicted on the panels, artists mark their work as an exclusive creation for the Olorisha who commissioned it. The panel is to be used solely by the orisha for whom it was made. Shango’s panel cannot be used for Yemoja, and neither can Oshun’s be used for Obatala. Each panel is unique, like the orisha for whom it is intended.Ilari Oba Miguel “Willie” Ramos, describing the traditional Lukumi decorative art of panuelos or paños (those cloth squares that I and other Olorisha make)
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Photo reblogged from Curimbando
” (…) nas mandingas que a gente não vê, mil coisas que a gente não crê
Valei-me, meu pai, atotô, Obaluaê!”Atotô!
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Photo reblogged from Curimbando
” (…) Oxóssi, filho de Iemanjá, divindade do clã de Ogum
É Ibualama, é Inlé, que Oxum levou no rio e nasceu Logunedé!
Sua natureza é da lua, na lua Oxóssi é Odé Odé-Odé, Odé-Odé
Rei de Keto Caboclo da mata Odé-Odé..
Quinta-feira é seu asé, Axoxó, feijão preto, camarão e amendoim
Azul e verde, suas cores, calça branca rendada, saia curta estampada
Ojá e couraça prateada, na mão ofá, iluquerê, Okê okê, okê arô, okê .
A jurema é a árvore sagrada, Okê arô, Oxóssi, okê okê
Na Bahia é São Jorge, no Rio, São Sebastião
Oxóssi é quem manda nas bandas do meu coração!”Oxossi - Aline Calixto.
Okê arô!
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Photo reblogged from Curimbando
”(…) Fui chamado de cordeiro, mas não sou cordeiro não, preferi ficar calado a falar e levar não, o meu silêncio, é uma singela oração à minha santa de fé, meu cantar, me deu as forças que sustentam o meu vive, meu cantar, é um apelo que eu faço a Nana ê.
Sou de Nanã ê ua, ê ua, ê ua ê…”
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Photo reblogged from Curimbando
” (…) É Ibualama, é Inlé, que Oxum levou no rio e nasceu Logunedé”
Loci, Loci!
Oshun and Inle with their omo Logun Ede!
Logun Ede is the Orisha associated with gender variance, and is believed to live half the year as a man and half the year as a woman. Yes, my religion has deities of trans-ness! Mojuba Logun Ede!
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In closing I recall a conversation with my godmother, Asabi. I was at the ilé on a Wednesday night, completing a ritual obligation noted during a divination. Being a weeknight, the usual frantic pace of family, both biological and ritual, was absent. We found a rare moment of quiet to talk about our lives. When I mentioned the subject of race, she paused before remarking, “The only thing I can say is that a lot of different people have been practicing this religion for a long time. It still works and it’s still vibrant. The things people trip out about really don’t matter to God… If Elegba didn’t want you here, you wouldn’t be here.”
A head will find its home.
James Kubie in his article Rootwork: Race, Devotion, and Cooptation in American Orisha Traditions published in That Old Black Magic: Voodoo and Witchcraft in American Culture (University of Georgia Press, 2010).
