Baba Who? Babalú!

The story from Irete-Otura says that Agrónika Omó Bitasa was a potter, a craft he had learned from his father, Asojano. When he is captured by the Iyesá, he is making plates. Often people refer to Babalú-Ayé as a warrior, a wanderer, a wounded healer and a king, but I can think of no other reference to the Old Man working as a potter. Two things about this idea intrigue me. Art historian Suzanne Blier makes clear that in Benin shallow plates, called agban in Fon-gbe, are one of the sources that inspire vessels used to hold the sacred objects of the deities (in Sacred Arts of Vodou , p. 68). When the word agban evolves to follow the pronunciation commonly used in Afro-Cuban communities, the “gb” sound becomes a “gu” or “w” sound, and this produces the Arará word “ awán ,” the name given to the most important ceremony performed for Asojano, where plates are laden with offerings of food and dried grains.   So here Asojano the potter is honored through a ceremony with many pl...

Yesterday I could not access Blogger so I posted this first on Wikipedia . Thanks to those of you who provided feedback on the first draft--you definitely helped me improve it. * * * * * * * The narratives and rituals that carry important cultural information about Babalú-Ayé include various recurring and interrelated themes. Earth: Babalú-Ayé’s worship is frequently linked to the Earth itself both in Africa and the Americas, and even his name identifies him with the Earth itself (McKenzie 1997:417). However, he also said to provide his followers with other material blessings as well. Taken as symbol of a large set of concerns, Babalú’s link with the Earth can be understood as an emphasis on the centrality of the material in human life. Illness and Suffering: Long referred to as the “god of smallpox,” Babalú certainly links back to disease in the body and the changes it brings (Wenger 1983:168). Because Babalú-Ayé both punishes people with illness and rewards them with health,...

There are many accounts explaining why Babalú-Ayé was exiled from the land of the Lucumí by the other orichas. In some versions, he spread disease after being mocked, and then Obatalá exiled him. In some, his exile is one of many tests sent by Olodumare, the Supreme God. But in one story, he could not contain his desire for sex. The story goes that Obatalá blessed Babalú-Ayé with peerless sexual prowess. He was a great lover, and all the women wanted him. In exchange for this gift, Obatalá only asked for one thing in return: Babalú was forbidden to have sex on Obatalá’s feast day. Well, after many years of observing this taboo, Babalú was consumed with desire for a new woman he had been seducing. She finally admitted that she wanted to hook up with Babalú, and she told him to come back the next day. Despite the fact that the next day was Obatalá’s festival, Babalú returned and lay with his new lover. When he left the tryst, he realized that his body was covered in sores. Babalú went ...

There are many stories that explain why Babalú-Ayé went into exile. This story has many versions told both in Africa and the Americas. Obatalá invited all the orichas to come to a big party. Babalú-Ayé was lame with one leg badly damaged, but he covered his injury in fine cloth, supported himself with a crutch, and went to the party. Everyone was dancing and having a good time, but Babalú stayed to the side. At one point, various orichas asked him to dance, but he declined, afraid he would reveal his imperfection. Finally Obatalá ordered Babalú to dance, but because of his deformity, he stumbled and quickly fell. All the orichas immediately burst out laughing. Humiliated and enraged, Babalú-Ayé cast sesame seeds upon all present. In the morning, all the orichas awoke infected with smallpox and covered with red and weeping sores. Realizing what had happened, Obatalá commanded Babalú-Ayé to leave the land of the Lucumí. Cast out and cut off from the other orichas, Babalú wandered from ...