I am studying the staff of the God Oxalá who is the oldest of the orishas. He is the orisha of purity and whiteness and owns the head. He walks hunched over using the staff to support him. Oxalá is syncretized with Jesus Christ just like other orishas are associated with Catholic saints. He is the father of all Orisha and the owner of all Ori. The oldest avatar of Oxalá carries this significant staff or paxorô.

Oxalás colors are white and silver, this is represented in the silver six-tiered staff. The top holds a crown symbolizing his power and a dove representing peace and his preferred sacrificial animal. Hanging on each of the tiers are pendants meant to represent Oxalá himself and the other orishas associated with him. On each of the six tiers which stick out like umbrellas are attached pendants including shapes of fish, mortars, bells, butterflies, and feathers. Each pendant represents one of the orishas. An example is the fish pendant represents the sea Iemanjã.

To find more information about the paxorô of
Oxalá I will use the UVM library to find books explaining the use of the staff in religious practices. Primary and secondary sources found on the internet may also aid me to find how the significance of the paxorô for personhood. Duke University’s site on the sacred arts of the Black Atlantic also gives information on the symbolism of the pendants which can represent its function in society. 

Spirit possession is a large aspect of Diaspora religion, for instance Shango, Yoruba god of thunder and lightning possesses his followers, taking them as brides in an eternal commitment. I am studying the outfit worn by Shango’s bride. This outfit is worn by those who are possessed by the Orisa Shango, which are typically referred to as ‘mounts.’ The outfit consists of a cloth wrap which is covered in cowry shells which represent wealth and power, as they were formerly used as currency. The shells are said to enrich the mount. Also, the outfit consists of a brightly colored tiger print skirt, which represents Shango’s ferocity. I am studying this outfit in order for the reader to discover how spirit possession of the wearers of these outfits contributes to the  personhood and identity of those possessed.

My question I am trying to answer is ‘how spirit possession of brides contributes their personhood and identity.’ Those possessed refers to whoever wears this outfit. A class reading I have seen this question emerge from is Thompsons “Flash of The Spirit,” on PG 86 where he talks about those possessed by Shango. This source says the áshe of Shango is found within a stone, and only he and his brave followers know how to balance this stone, unsupported on their heads. This chapter has other details regarding specifics on spirit possession as well. For instance Thompson writes, “the áshe of Shango is found within the stone.” These details can be used to identify how a brides commitment to Shango influences their identity and personhood.

In order to better understand my question I will need primary ethnographical documents written by those who have been around brides of Shango. I believe understanding their lives more may help answer the question better. Also, I would need secondary resources such as cultural encyclopedias which document the history of Yoruba people and the origin of spirit possessions within their culture. Thirdly, finding more articles written by authors such as Thompson will probably be my most promising avenue. The readings we do in class tend to explain the logistics behind Diaspora culture, which is ultimately the main goal. Discovering the reasoning behind spirit possession, as well as its history is an important step in understanding Shango’s connection with his brides.

I have chosen to research the Ceramic-Tiled Image of the Afro-Cuban Goddess Yemayá. This object is a drink tray and is used to carry drinks and is depicting a cuban deity despite the object being from the United States. The object was designed by Ernesto Pichardo who is a Cuban Santero who was the plaintiff in a 1987 Supreme Court Case which ruled in favor of Ernesto Pichardo and overturned a ban on animal sacrifice. The law that was put into place in 1987 in the city of Hialeah, Florida. Despite its non-ritual use this object has a connection to an important Supreme Court ruling that is very important for many religions that practice animal sacrifice. Ernesto Pichardo is known for attempting to re-africanize his sect of Santoria.

Yemayá is the goddess of the sea and as a result has somewhat of an association with water and other drinks because of her being an entity controlling the water. Additionally the number seven, Yemayá’s sacred number, is ever present in the tray. The seven sea creature in the bottom portion of the border, the seven Cowrie Shells on the border, The seven starfish on each side of the border, the seven fish hooks on the border, and the seven Cowrie shells on Yemayá’s necklace the ever present nature of seven in the object is immensely important to the deity that is depicted on the tile. However, in Africa Yemayá’s number is nine as opposed to seven in Cuba “nine is one of the numbers of Yemayá in Africa, as in the Abeokuta praise verse, “open river, divided into nine parts.”(Thompson 76-77). Finding more about the Cuban outlook on the numbers was something I wasn’t able to find out about more in the readings.

In order to find more information on the imagery for my research I will need a primary and secondary source. I will research Cuban festivals and altars dedicated to Yemayá in order to find out what items are considered sacred to her and what the usage and meaning of those objects are. I will read books and articles online to find out more about Yemayá from Cuban people who worship her so I can better understand her from the eyes of a Cuban worshipper. With the information I think I will be able to understand the differences between the way African and Cuban people worship the same deity differently and also understand why those differences have happened.

I have chosen to study the Cuban Santería altar to Ochosi. It is a beautiful altar with a vase decorated with blue, yellow, and coral beads, and it sits next to a bow and arrow, decorated with the same beads. Ochosi is a divine hunter, known for his arrows that never miss their mark. He represents swift and blind justice, and is close friends with Eleggua and Ogun. I would like to find out how followers of Ochosi practice honoring him, and how he impacts the daily life of followers who have either gained his favor or his disdain. For example, I would like to research when, how often, and in what manner his followers worship him, and in what circumstances he brings fortune, misfortune, or other changes to their lives in return. I believe that this research will help my reader try to see an important aspect of Santería culture and religion in Cuba from less of an outsider’s view.

While our readings have focused greatly on the spread of African diasporic religions, I plan on focusing less on how he may have changed as a result of Yoruba religion spreading to Cuba, and more on the immediate impacts that he has on his followers. Robert Farris Thompson’s Flash of the Spirit goes into some detail on the mythology of Ochosi, and even describes, “a strange, bramble-like shrine, the ojubo oshoosi, for sacrifice to Oshoosi”(Thompson, 58). Many of our readings don’t focus in on specific aspects of worship that currently occur in the world, so I believe that researching such topics will provide many interesting opportunities to view the world of Orisha worship.

To complete my research, I imagine that I’ll need lots of primary resources. I anticipate utilizing books and literary works with information about Ochosi and rituals devoted to him. I would also like to be able to find primary resources such as films or interviews that center on actual people that worship Ochosi, to get a first-hand account and hear about the experience of people that aren’t outsiders. I also believe that secondary resources could be helpful, because they could analyze the accuracy of primary sources discussing Ochosi worship, or discuss whether or not sources are written as heavily biased, or from the view of an outsider. With these sources, I believe that I could find a lot of useful information on the worship and actions of the Santería orisha Ochosi.

Seth Epling

I am studying Fon scepter for the God Hevioso. This object is a wooden staff with an axe like head and is used in political and festival practices in what is now modern day Benin. I want to study this object because I want to learn more about the use of these scepters in court and religious practices. I also want to know more about this specific scepter and the king or Oba who carried this scepter and the effect it had on the Fon people.  I want to know more about how the designs on the scepter represent the king who held it and Hevioso the God of Thunder. This research will help the reader understand that objects that are taken out of festivals have little to no meaning unless it is shown in a practical sense. It helps the reader understand that each object has a much deeper meaning and each king has a god representing them.

One of the things we discussed in class was the power of ase in everyday life. People who have ase have personal power and ase can come for lots of different places. In the reading “Ase: Verbalizing and Visualizing Creative Power Through Art” by Rowland Abiodun, he discusses the implications of Ase and all the places that it can come from. Abiodun states, “Like a sceptre, ase must be received from a source of outside of, and higher that oneself,”(Abiodun, 311)  Although, this is directly describing Yoruba religion there are man parallels between the two religions because Yoruba had lots of influence of Vodou and many other religions that are similar. This connects to my object being a scepter but also it shows that not everyone can be a king with any object. Objects have to meaning but they can not be taken out of context. Professor Abiodun also stated in our class, that these objects can not be displayed in a museum or art show and have ase within them. For this reason, my object needs to be looked in a ritual or practice. The whole ritual has to be understood and the background of the king and the god of the practice have to be learned in order to really feel the ase of this object

To further understand the use and meaning of the scepter in Vodou religion, I will be trying to find a video of the ritual. This will increase the understanding of the ritual because I will be able to see it. Another primary source I want to find is a first hand experience in an article by someone who went to the festival. Hopefully by someone who practices vodou so I can get their point of view. The last source I will need is an article about the king and the god who is represented by the scepter, this will be a secondary source and is needed to understand the background of the ritual.