OYA: CALL THE STORM ~ Miracle Theatre Group Study Guide, March 2008 1

OYA
Centuries ago, war threatened Nup, which lies
to the north of Yorubaland. The King asked his
diviners what he should do to prevent invasion.
They told him that a virgin should be appointed
to tear a piece of black cloth in two. The King
selected his favorite daughter for the task. She
tore the fabric in two and let it fall upon the
ground. Instantly, the mighty Niger River was
born, providing Nup with a formidable obstacle
against intruders. The Niger is called "Od Oya"
(O-ya means "she tore") and the river is home
to the Awesome Oricha of the Winds, Oy.

Beautiful, tempestuous, elegant and graceful, Oy is the fury of the hurricane, the breath in
our lungs, the air that cools, the breeze that chills, the winds that blow seeds that fertilize
the land, the winds that pass disease throughout villages and townships, the moan of the
wind within the cemetery, and the fury of the tempest that tears the landscape asunder.

Oy is one of the hundreds of Orichas of the Yoruban pantheon of deities. The Orichas are
best understood by observing the forces of nature over which they rule. Oy is venerated as
an intercessor between humans and the almighty Creator, aiding those who follow her to
live a better life, in which their natural destiny is fulfilled. Oy commands hurricanes,
cyclones and tornadoes. Known as the sweeping wind of change and upheaval, revolution
and progress, she forces the destruction of old ideals while sweeping away useless
baggage; the broom is a symbol of her force for change. She tears down that which is old
and decaying, compelling us to begin building anew. She loves to dance.

Oy is praised by many names which also illuminate her dominion, for example:
Obini Ya'go: "The woman you make way for when she turns." Her forceful presence
demands attention and respect.
Obrin to tor ogun d rngbon si: "A Woman who grows a beard on account of war." She is
a warrior. Although comely in appearance she is able to quickly put on a warriors mantle.
Iya Yansan: "Mother of Nine." In addition to Egungun she bore four sets of twins. Nine is
her special power number. Its mystical attributes apply to her.
Oy Iya'loja: "Owner of the Market." She presides over both the seller and consumer. She
oversees transactions of all kinds in the marketplace in which fortunes and goods spin in a
never-ending whirlwind of exchange, change, and flux.
Ayi Lo Da: "The one that turns things and changes them."
Ayaba Ni Kua: "Queen of death." Oy rules the cemetery. She is not afraid of death. She
bravely sees people through the transition between life and death. She presides over Yoruba
rites having to do with the dead.


OY A: CALL THE STORM
Study Guide

Miracle Theatre Group, 2008

OYA: CALL THE STORM ~ Miracle Theatre Group Study Guide, March 2008 2
Her Feast Day is December 4
th
, but she is also honored
on February 2
nd
. She loves eggplant, hens, she-goats,
sheep, locust, black horsehair switches, copper, red
wine, plums, and grapes. Her day is Wednesday and
among her favorite nine colors are red, purple, brown,
and burnt orange. Her symbols are weathervanes,
windmills, kites, balloons, propeller planes, wind
instruments, pinwheels, two naked swords, and buffalo
horns.

She also provides her followers with a means of
changing themselves. She conducts the transference of
matter into energy, a vital force that fuels existence as
we experience it.

During the Middle Passage, her traditions were brought over to the New World by slaves. In
Cuba, the individual Oricha were disguised as Catholic Saints. Oys most popular masks
were Saint Therese and Our Lady of Candelaria.

Her closest friend is Ik, the Oricha of Death, and it is their responsibility to see to it that
the natural order remains undisturbed. Once a mans final breath is expelled, Oy takes it to
Ik, who brings the spirit to the cemetery gates and then to its next passage. Along these
lines, one of her symbols is the bed, as nightly we imitate death in sleep.


Ik

Ik is death, whose function is to dispose of life, not unlike the Grim Reaper of Western
lore. Ik can usually be found in the graveyard, where he abides under the jurisdiction of
the Oricha Oy, who is in charge of the cemeteries. It should be noted that cemeteries were
not part of traditional Yoruba culture, Yorubans buried their dead in their own yards. This
shift was developed as the Yorubans came in contact and meshed with Catholic burial
practices in Cuba).

According to the traditions of La Regla Lucumi (also
known as Santera) every individual has a fixed
number of days of life on earth before they must
return, through death, to the source of all life. The
day of life cannot be extended but it can be
shortened. Suicide, the wrath of an Oricha, an evil
spell or curse, accidents, or the harassment of a
troubled spirit can all reduce the number of days
destined for life. Those who are killed prior to their
allotted time remain on earth as ghosts until their
original time expires, while those who live out their
allotted days go directly to a type of heaven for judgment. That is why oracles are so
important: they warn of impending danger and seek to restore harmony so that the
individual can fulfill their allotted time on earth. At times, Ik can be cheated. When a
person is facing death before their allotted time, a santero or santera (shaman) can try to
divert Iks attention. If they succeed, the infirm may live to see another day.

OYA: CALL THE STORM ~ Miracle Theatre Group Study Guide, March 2008 3
Death does not indicate the cessation of life, but rather a new phase of existence. When a
person dies their ori, the spirit of their fate, stands before Olodumare, the almighty Creator,
who calls upon the individuals guardian Oricha. This Oricha gives an account of the
faithfulness of the individual in fulfilling their destiny, in maintaining the rituals of the
religion, and in keeping secret its mysteries.

ORICHAS
Legend tells us that Oludumare, the Creator God, became weary of ruling the world with its
endless problems. He decided to divide his powers among the Orichas of the Lucum
pantheon and retire to an isolated and inaccessible hilltop, to the top of which only two
Orichas, Obatal and the mischievous Elegu, knew the route.

So he gathered the Orichas around him and explained his decision. He called forth Yemay
and placed all the seas in her lap. Then Saramagua shook her skirt and separated the
oceans and the continents, giving the world the configuration that is has today. To Chang,
he gave the lightning, the thunder and the thunderbolts; to Ochn he gave the rivers and
the honey and the waters of the sweetest springs; to Ogn he gave the iron; to Eleggu he
gave the roads and highways; and to Oy he gave the cemeteries and wind. (Theres a
legend that originally, the oricha Yemaya was given the cemetery, and Oy was given the
ocean, but Yemaya tricked Oy into trading, thereby making eternal enemies of the two.)

The Orichas are the emissaries of the almighty Olodumare. They rule over the forces of
nature and the endeavors of humanity. They recognize themselves and are recognized
through their different numbers and colors which are their marks, and each has their own
favorite foods and other things which they like to receive as offerings and gifts. Offerings
are made in a manner that the Orichas are accustomed to, in the way they have always
received them, so that they will be recognized by the Orichas who will come to ones aid.
Regla de Ocha, Religin Lucum or Santera

Regla de Ocha (the Spanish name for the religion) originated in
West Africa in what is now Nigeria and Benin. It is the
traditional religion of the Yoruba peoples there. The slave trade
brought many of these people to the shores of Cuba, Brazil,
Haiti, Trinidad and Puerto Rico among other places in the New
World. African-based religious systems and rites have had a
particularly profound impact and transcendence in Cuba,
permeating its culture, art, and literature, in addition to its
religious and historical dimensions. It has been said that one
cannot understand Cubans without taking into account their
African roots and influences.

La Regla de Ocha believe in one God known as Olodumare or
Olorun. Olorun is the source of ash, the spiritual energy that
makes up the universe, all life and all things material.

Olorun interacts with the world and humankind through
emissaries, known as Orichas. The Orichas are approachable in
a way that Olorun is not. Communication between Orichas and
humankind is accomplished through ritual, prayer, divination and eb or offerings. Song,
rhythms, dance and trance possession are also means with which humans interact with the
Orichas. These expressions affect daily life so that they humans may lead deeper and fuller
lives during their stay in this world.
OYA: CALL THE STORM ~ Miracle Theatre Group Study Guide, March 2008 4

In the New World the Orichas and much of the religion was hidden behind a facade of
Catholicism with the Orichas themselves represented by various saints. In Cuba, the
expression Santera means literally the way of the saints, and is used to refer to the
Lucumi (Yoruba) religion as it meshed or syncretized with influences of the ethnic groups
that reached the island. The slave owners would then say "look at how pious this slave is.
She spends all of her time worshipping Saint Barbara." Unbeknownst to them, she would
actually be praying to Chango, the Lord of Lightning, Fire and the Dance, perhaps even
praying for deliverance from that very slaveowner.

The memory of this period of history is why some devotees of the religion regard the term
Santera as a pejorative and derogatory.

As late as circa 1886, contraband slaves continued to flow into Cuba even after the slave
trade had officially stopped. Only Brazil continued the practice until later, 1888. The Yoruba
figured predominantly in those two countries because they were the last wave of slaves,
having finally been conquered by the Europeans. That is why in the first third of the
twentieth century some older negros de nacin (African-born slaves) could still be found
who remembered well the traditions and customs of their homeland and were able to
transmit them to their descendants. This fact greatly fostered the continuity of the religious
systems, as well as our understanding of them today.

The traditions of Regla de Ocha are fiercely preserved and full knowledge of the rites,
songs, and language are prerequisites to any deep involvement in the religion. Initiates
must follow a strict regimen and are answerable to Olorun and the Orichas for their actions.
As a person passes through each initiation in the tradition, this knowledge deepens and
their abilities and responsibilities grow accordingly. During the entire first year of their
training, the initiate or Iyaw or 'bride' of the Oricha must dress in white. The Iyaw must
not look into a mirror, touch anyone or allow themselves to be touched, and they may not
wear makeup, or go out at night for this year.

For devotees of Regla de Ocha there is no separation between the spirit world and the
tangible world. The spirit world, nature, and the human environment coexist in the same
sphere. Santera may be known for its 'magic', but this magic is based on understanding the
mysteries of the Orichas and how to interact with them to better ones life and the lives of
those who come to one in need. Devotees live with the premise that the world is magical.

On Afro-Cuban Dance
When the Spanish settled Cuba, a combination of
disease and abuse largely obliterated the
indigenous peoples of the island. African slaves
brought in to work on the sugar plantations soon
outnumbered Europeans. Although Cubas African
population was undeniably oppressed, they
managed to preserve many rituals and customs,
and their rhythms and instrumentation were also
absorbed into existing Spanish musical culture.

Regla de Ocha is a religious system that requires
dance, song, and drums to continue in practice.
The rhythms play an essential part of the equation; drummers practice assiduously for
years to be able to play the intricate rhythms correctly. This is important since the drums
OYA: CALL THE STORM ~ Miracle Theatre Group Study Guide, March 2008 5
are actually speaking to the Orichas. The Yoruba language is a tonal one and the drums are
tuned in such a way as to play the tones of Yoruba speech, and especially the prayers for
the Oricha. The songs put the prayers in vocal form. For this reason some rhythms are
never played unless it is in religious context as it would offend the Oricha. These rhythms
are actually prayers to the deities with each Oricha having its own rhythms associated with
them.

The purpose of the toque (ceremony) is to sing praises to a particular Oricha, so he/she will
manifest in human form, in one or more of the participants.

The movements of the dances are borne of the same motions associated with the Orichas
for thousands of years. Naturally, dances evolve over time and in new lands. For example,
the Orixas of Brazil are very different from the Oricha of Cuba. However, certain traits
thrive. As with the rhythms played on the drums, each Oricha has its own dances, with
Oys horsehair stick whipping around like a hurricane, Ogn's chopping with his machete,
Oshn's portraying her primping in front of her hand held mirror, etc. These movements
become more danced prayers than what the Western European would refer to as dance.

Meanwhile, popular Cuban culture has inspired dance and music all over the hemisphere;
for the past 100 years, the musical traditions of Cubalocated just 90 miles south of
Floridahave had a major impact on U.S. popular culture, an influence that continues to
flourish. In the 1930s and 40s, Cuba gave us the mambo and the cha-cha-cha (cha cha is
a drum rhythm of the Yoruba). More recently, Cuba has exported salsa music to the U.S.,
along with popular musicians like Gloria Esteban and the Buena Vista Social Club.Cuban
dances have influenced Spanish flamenco and most recently, African popular culture.

Patak

Patak are the traditional African tales of the Orichas and their relationships among
themselves and with humans. They make up a constantly shifting mosaic of loves, betrayals
and intrigue. Below follows a patak of Orunmila and Ik.

Orunmila, the Oricha that predicts the future, does not fear death.

One day, a woman came running up to Orunmila. These were the days that the Orichas still
walked on the earth. She clutched at his shoulders and cried out, "Ik is going around and
around my house." This was very serious because Ik is the name of death. When Ik
wants someone, she walks outside the house looking for a small hole or opening through
which she can get in and take away the person inside.

"Ik is at my house," the woman cried again. "She wants to take my only son, my little boy.
Ik sent in a fever and it's going to kill him if I don't do something." She started to drag
Orunmila back to her house. "We have to hurry," she said, sobbing. "I have turned my
back. Ik may be getting into my house right now to take away my child."

Orunmila smiled down at her and said, "Don't cry, good
woman."

"But, what should I do? You have to help me," she said.

Orunmila patted her head to calm her down. "Don't worry,"
he said. "Go to the market and buy four baskets full of okra
OYA: CALL THE STORM ~ Miracle Theatre Group Study Guide, March 2008 6
and take them back to your house."

"What about my child?" sobbed the frightened woman.

"I will go to your house and make sure that Ik does not go in," said Orunmila. "Go to the
market in peace."

The woman followed Orunmila's advice. She went to the market and bought three heaping
baskets of okra. When she got home, breathless from having run with the three baskets,
she found Orunmila waiting for her. "Here are the baskets," she said. "What are you going
to do with them?"

"Hush," said Orunmila. "I don't have time for explanations." He took the baskets from the
woman, went inside the house and spread the contents of the baskets all over the floors
until they were covered by a thick carpet of okra. He handed the baskets back to the
anxious mother. "Don't worry, mother," he said. "Ik won't be able to do your son any
harm."

Exhausted by the run from the market and a fear and anxiety that had not let her sleep for
days, the mother collapsed on a cot and went to sleep. As she slept, the child's fever rose.
Ik was thinking that it was time to take the child away, so she made the sickness worse.
Ik went up to the door and found that it was unlatched and had not closed all the way.
Death slipped in through the crack, hurrying to get to the child before the mother awoke,
across the room with her usual firm and silent steps. But, when her hard and bony heels
stepped on the okra, the fruit burst open and Ik slipped and slid. All the okra on the floor
oozed its sap as Ik slipped from one side of the room to the other. The sap was as slippery
as soap. Both of death's feet slipped out from under her and her long arm bones windmilled
trying to regain her balance.

"Oh, crap," she cried. And, before she could say anything else, her bony hips hit the floor,
shaking loose all her joints.

Ik had to slip and dig through the mess of okra to find one or two little bones that had
come off. She made her way very carefully to the door. Outside, Orunmila waited for her.
"How are you this afternoon, Ik?" he asked very politely.
"Curse you, Orunmila," she spat. "I know that this is all your fault. Curse you and that
cursed woman in there for getting you to help her."

"Are you coming again?" Orunmila called out as Ik hobbled off down the path.

Ik turned and gave him an evil look. "Are you crazy?" she said. "I'm going to wait a long
time and make sure that okra is gone!"

So be it.









OYA: CALL THE STORM ~ Miracle Theatre Group Study Guide, March 2008 7


Resources and Further References:

Brown, David H. Santeria Enthroned: Art, Ritual, and Innovation in an Afro-Cuban
Religion, Chicago: University of Chicago Press, 2003.
De La Torre, Miguel A. Santera: The beliefs and Rituals of a Growing Religion in
America, Grand Rapids: Wm. B. Eerdmans Publishing Company, 2004.
Gleason, Judith. Oya: In Praise of an African Goddess, NY: Harper Collins, 1987.
Gonzalez-Wippler, Migene. Santeria: The Religion: Faith, Rites, Magic, New York:
Llewellyn Publications, 2002.
Lerner, Eric K. Oya: Santeria and the Spirit of the Wind (unpublished manuscript).
Marashinsky, Amy Sophia. The Goddess Oracle: A Way to Wholeness through the
Goddess and Ritual. Boston: Element, 1997.
Myers Imel, Ann, Martha, and Dorothy. Goddesses in World Mythology: A
Biographical Dictionary. New York: Oxford University Press, 1995.
Ortiz, Fernando. La Africana de la msica folklrica de Cuba / Los bailes y el teatro
de los negros en el folklore de Cuba/ Los instrumentos de la msica afrocubana. La Habana:
Editora Universitaria, 1965.
____. Hampa afro-cubana; los negros brujos. Miami: Ediciones Universal, 1973.
____. Los cabildos y la fiesta afrocubanos del Da de Reyes. La Habana:
Editorial de Ciencias Sociales, 1992.
____. tnia y sociedad. La Habana: Editorial de Ciencias Sociales, 1993.
Raboteau, Albert J. Slave Religion. New York: Oxford University Press, (1978).
Teish, Luisah. Jambalaya: The Natural Woman's Book of Personal Charms and
Practical Rituals, New York: HarperOne, 1988.


Websites:

African Dance
http://www.ket.org/education/guides/pd/arts3_afrocubandance.pdf
African Ladies - Female Orichas
http://www.blueroebuck.com/orishas.html
Afro-Cuban Diasporan Religions: A Comparative Analysis of the Literature
www6.miami.edu/iccas/AFRO2.pdf
Black Phoenix Alchemy Lab (Perfume Oil Blends)
http://www.blackphoenixalchemylab.com/excolo.html
Cuban Religious Beliefs of African Origin
http://cuban-exile.com/doc_226-250/doc0234-35.html
Guemilere: The Rhythm of the Saints
http://orishanet.org/bembe.html
Meta Religion: The Gods (Orishas)
http://www.meta-religion.com/World_Religions/Santeria/gods.htm
Oy
http://www.blueroebuck.com/oya.htm
Patak of the Orishas
http://www.lasculturas.com/lib/libIfaPataki.htm
Photography of Cuban cemeteries
http://www.danheller.com/cuba-cemeteries.html
Roots and Rooted: Eepa Oya O!: Ol'Oya Speaks Out by Her Royal Grace Olori Oyadele
http://www.rootsandrooted.org/oya.htm
OYA: CALL THE STORM ~ Miracle Theatre Group Study Guide, March 2008 8
Roots and Rooted: Oriki Oya - Praising the Spirit of the Wind
http://www.rootsandrooted.org/oya2.htm
The Women Who Ruled La Regla Ocha
http://www.orishanet.org/womenrule.html
Voice of Toth: OYA from Calendar of the Orishas
http://www.voiceofthoth.com/newslet3.htm
What is Santeria?
http://orishanet.org/santeria.html
Yoruban Religion: Its cosmology and mythology
http://www.photius.com/religion/yoruba.html




Miracle Theatre Group proudly presents the World Premiere of
Oy: Call the Storm
April 4-26, 2008
An original dance theatre production written and directed by Rebecca Martinez,
choreographed by Freila Merencio Blanco with musical direction by Isidro Valor Prez.


Oy is a feminine warrior oricha of the Afro-Cuban Yoruba tradition.
Like the wind that she commands, Oy is always changing, always moving, with the power
to conjure storms, hurricanes and tornadoes. She is also guardian of the cemeteries, where
the underworld oricha Ik, discouraged by pervasive human corruption, has challenged Oy
to destroy the world. But just as Oy calls upon her destructive forces of nature, she
witnesses humanity in its fullness. Told through heart-felt rhythms of Yoruba influence, the
story of Oy and Ik unfolds through folkloric Afro-Cuban dance and song that form a
colorful language of movement to reach across linguistic and geographic boundaries.

Miracle Theatre Groups 2007-2008 season is generously supported by:
U.S. Bank, Allen Family Foundation, Collins Foundation, Oregon Community Foundation, Oregon Arts
Commission, Regional Arts and Culture Council, The Jackson Foundation,
La Pantera, El Centinela, Equal Exchange and El Hispanic News.







The Northwest's premiere Latino
arts and culture organization
425 SE 6th Avenue
Portland OR 97214
503-236-7253
www.milagro.org
The Miracle Theatre Group has been dedicated to bringing the vibrancy of Latino theatre to the
Northwest community and beyond since 1985. In addition to its national tours, Miracle provides a home
for Latino arts and culture at El Centro Milagro, where it enriches the local community with a variety of
community outreach projects and educational programs designed to share the diversity of Latino
culture. For more information about the Miracle, visit www.milagro.org or call 503-236-7253.