Baba Who? Babalú!

After Pilar Fresneda—Asonsiperaco joined the ancestors in the early 1960s, the Havana Arará cabildo passed to Ofelia Calixta Martínez Bonilla, who led the community from her home in the Pogolotti neighborhood of Havana. She had been made to Mase or Ochún by La Chata--Onojome and Matilde Sotomayor--Asoinque, who also gave her Asojano-Alua.  Although Ofelia--Alidémi had Ochún made, her elders had given her permission to give Asojano-Arará--a novelty to the Sabalú in Matanzas. She also received Nanú from both the Arará and Lucumí lineages. Although Ofelia's son, Octavio Hernández-Martínez--Ogunda Meyi has no explanation for this intriguing fact, her daughter-in-law Olga says she always attended to them differently and according to the way she had been taught. Ofelia de Pogolotti maintained the traditions that Pilar had established. With her extended family, she "took out" the cabildo every year on December 16th, parading through the streets with its symbols: a white

In the early 20th century, the legendary Pilar Fresneda—Asonsiperaco carried the dynamic traditions from the Cabildo Arará Sabalú Nonjó in Matanzas to Havana City. The stories about Fresneda are many. Some say she was born in Africa, consecrated to Asojano-Alua, and came to Cuba at age seven. Others say her mother was freed from slavery in Africa, and still others claim it was her father who was African-born. Some say she went to Havana as a child, and others claim it was much later. Similarly, some say she was 80-something when she died, but her son El Bate said she was 102 or 103 when she died. As Arará elder Milagros Sequiera Palma tells it, Fresneda left the Matanzas cabildo in a conflict over the emerging community in Havana. Fresneda wanted to carry the cabildo’s sacred drums to Havana to play at a drumming ceremony, but cabildo powerhouse Michaela Ruiz would not allow it. Fresneda then sponsored the creation of new set of sacred drums, and these were recognized by the Ma

The Cabildo Arará Sabalú Nonjó played a key role in sustaining Arará traditions in Santería. Unlike most Santería traditions that have their roots in Yoruba culture in Nigeria, Arará traditions have their origins primarily in Fon speaking communities in what is now Benin. In fact, Sabalú comes from the Savalu in the Mahin area of central Benin. It is not entirely clear when the cabildo was established. Careful calculation by David H. Brown suggests sometime between 1880 and 1895 ( Santería Enthroned , p.74), but current cabildo leader Oscarito Rodríguez claims it was founded in 1862. Located in Matanzas City where many outlying communities also have Arará cabildos, the Sabalú cabildo—also known as the Cabildo del Santo Espíritu—forged a strong sense of identity and commitment to the knowledge of the oricha Asojano, Arará language, and Arará drumming. The cabildo continues to honor an enormously diverse set of fodunces , oricha-like deities with different names and some variable char

My comadre Raquel Fernández (left) was made by her older sister, Magdalena (center), in 1964. Raquel's oyugbona was José María Hernández-Arioza--Omi Niqué, who had been made by Margot San Lázaro, the famous Havana priestess. Magdalena had been made the year before, and her oyugbona was another of Margot's godchildren, Irene Zúñiga--Ochún Bí.  Magdalena tells the story of how Margot became identified with Asojano: Margot was being made to Yemayá in a Lucumí house, but as she sat in the initiation and the elders called down the orichas, it was not Yemayá who came down but Asojano. In those days, Pilar Fresneda--Asonsiperaco from the Sabalú cabildo was the undisputed expert in such things, and Margot's elders reached out to her. When she arrived at the house, she found Asojano speaking in his famously froggy and hard-to-understand voice. She sang to Asojano in Arará, and he responded just as he was supposed to. This was a beautiful Asojano, an unforgettable manifestation o

Last week, I was in Havana, making ebó to Asojano and giving him an Arará drumming. As part of my regular visits to people I know, I traveled to Reparto Mañana, tucked in between Regla and Guanabacoa. There I visited my comadre Raquel Fernández—Obá Kedun. I have known Raquel since 1997, when I started working in the house of her godson, Saul Fernández—Baba Ni Belequé. In 1999, she supported me in a highly charged initiation ceremony in Centro Habana, and a few years back I received the Ibeyi from her. Although I have known her for many years, it was only recently that I learned that she was married to Rafael Linares—Emerego until his death on December 9, 1985. Arará people in Havana often remember Linares as a knowledgeable and meticulous priest of Asojano. He grew up in the religion. His father was Alberto Linares, the babalawo Ogbe-Roso, and his stepmother was Joaquina Sánchez—Towá. Their house was a gathering place for religious practitioners of their generation. On June 9,

There are many forms of Babalú-Ayé found in Cuba. Some are common and some are unique. Perhaps the best known forms are Babalú-Lucumí and Babalú-Arará, who is sometimes called Asojano. On the surface the distinctions are quite simple. The Lucumí form has its roots in people of Yoruba descent. It is unsealed and speaks through cowry shells. The Arará form has its roots in people of Dahomean descent. It is sealed and speaks through Ifá divination. If you look a little deeper, the distinctions become more complex. The Lucumí form is usually covered, but not always. It can have one stone or seven. It often carries a protective Osun, but not always. Sometimes it comes with the special Elegguá called Afrá, but not always. Sometimes it comes with Nanú, the mother of Babalú, but not always. In fact, there are a variety of ceremonies used to consecrate it. The most famous Lucumí lineage descends from Armando Zulueta—Omí Toké, but even that’s complicated. Armando’s favorite neice and goddaught