Baba Who? Babalú!

As I reflected on the intersection of charcoal and Ojuani Meyi, I discovered something interesting. It turns out that the sign Ofún-Ojuani represents an important nexus of the various themes that surround Babalú-Ayé. I have a tratado that says explicitly that in this sign is born:  the secret of charcoal (and ashes); the curse of the color black; the pilgrimage; and the great secret of Shakuaná.  It is interesting to note that the sign also includes a recipe for the creation of Ibako, the prenda of Oluó Popó. While there is no story explaining the secret of charcoal or the curse of the color black, there is a story explaining the use of colored cloth in the crowning of new oricha priests. It lists black as the color for Shakuaná (though I should say that I think most people would say it should be red). The tratado does provide some detail about the great secret of Shakuaná. It says that before he was Asojano, he was called Kelejewe Kuto, and he had to die in order to be

One of the most beautiful and intriguing things about the world of the orichas is the incredible sophistication and differentiation that exists both in the use of substances for ritual and the complex narratives that represent certain timeless truths. While some people stress one of these aspects over the other, in fact both traditions remain very important and vital. My next few posts will explore these traditions in relationship to Babalú’s awán. Those who follow the lineage of Armando Zulueta—Omí Toké crumble charcoal at the bottom of the basket used in the awán. My teacher Ernesto Pichardo taught me to do this, explaining that the charcoal moves us into the realm of the unknown, the mysterious. However, he also taught me to consider carefully the substances that we use in the religion to gain a better understanding of their inherent aché. When organic materials like wood are burned in the absence of oxygen, they produce charcoal. It takes great skill to stack wood and burn it i