Griffith, Paul. “Chapter 4.” Art and Ritual in the Black Diaspora; Archetypes of Transition, books.google.com/books?id=2vSeDQAAQBAJ&pg=PA120&lpg=PA120&dq=nana+dancing+ritual&source=bl&ots=xltfBHktua&sig=DeIgzk2bSVpcwNpYwo5z_66sv24&hl=en&sa=X&ved=0ahUKEwiio7iM5oTXAhXEYiYKHRNKD4YQ6AEINjAF#v=onepage&q=nana%20dancing%20ritual&f=false.

Art and Ritual in the Black Diaspora; Archetypes of Transition
Paul Griffith

I found this source on google professor, using the keywords Nanã and Ritual Practices
The author of this book discusses in Chapter 4; Page 120 of the ritualistic style of the dance practiced in the worship of Nana, as Tidlectics, styles of dances having to do with the ocean, or swaying motions parallel to the actions of the waves of the ocean. Also, the author describes the dance as having a “sweeping motion” to it, which enforces the use of the Ibiri wand, the specific tool to the Orisha Nanã, as it is considered amongst many as a broom of sorts, used to sweep away pestilence, and disease.

The author gave me a unique, fresh perspective on the style of dancing used to honor the Orisha, as the Tidalectic style of dancing, was foreign at first, but became sensible considering Nanã is associated heavily with the ocean, and having a swaying, almost sweeping motion used during her ritualistic dances.

Sansi, Roger. “4.” Fetishes and Monuments: Afro-Brazilian Art and Culture in the Twentieth Century, Berghahn, 2010.
Roger Roca-Sansi: Fetishes and Monuments: Afro Brazilian Art and

Professor Brennan recommended this book to me; during our initial object analysis
The Author of this book, Roger Sansi, discusses in Chapter 4, the transition in Candomble and other Afro-Brazilian religions, from the perspective of religious objects as weapons, to Crown Jewels of museums. This is another fresh perspective on religious and museological objects, having a malicious aspect to them, when used in their appropriate cultural mythology and legends.The Ibiri, the object most identified with the Orisha Nanã Buruku, was also perceived as a dangerous weapon when used against men, and people whom the Orisha had ill intent towards. This source provides an additional aspect to view the Ibiri, not just as an object used in rituals to further align oneself with Nanã Buruku, but also potentially used by individuals with an intent that isn’t so loving nd nurturing, as the Orisha herself is often seen as.

Thompson, Robert Farris. “Chapter 1: Black Saints Go Marching in .” Flash of the Spirit: African and Afro-American Art and Philosophy, Random House, 1983, pp. 68–72.

Robert Farris Thompson

This source was ultimately found in our textbook, as Nanã Buruku has a section devoted to her history, life on Earth, and the history, use and life of the Ibiri wand, the object I will be researching within this project.
Our textbook, discusses the history of the Ibiri, explaining that Nanã has possessed the wand from the beginning of her life, and after Nanã was born, the staff was cut from the placenta, and put inside the Earth. As Nanã grew in size and age, the staff did as well, beneath the Earth. Nanã, went to war with the Teju-ade, and her son dug up the staff, and thus the staff became the highly worshipped object contained in the essence of the Orisha herself, essentially. This is an extremely valuable source, as it offers the most in depth and specific history of the Ibiri I have found thus far. Also, it offers the lives of both the Orisha, and the object as they both grew from birth, into maturity, and ultimately, into the legends told about Nanã Buruku and the Ibiri in Afro-Brazilian mythology.