A Long Overdue Recognition

Close up of a crown for Babaluaiye made by M. DiSantos, Obaefunnike. Miami, 2000.

Obatala throne installed by Jorge Ortega, Ewin Shola for my omo orisha J. Gonzalez, Olubanke. Nowhere is Lukumi artistic expression more visible than in a throne. Miami: November, 2000.

Since time immemorial, Lukumi Olorishas have expressed their devotion to their orishas through different artistic expressions that for the most part have not been given due recognition for their aesthetic value. Creators of orisha arts play an essential role in the Lukumi religious community. Theirs is a function that caters to divine as well as human predilection. These artists produce many different art forms, such as beadwork, tools, garments, cloth panels, meals, and music, that are used by both the deities and the priesthood.

Lukumi artists do not see themselves as artists nor do they consider that their creations are unique artistic productions. These artists will seldom dettach their work from its religious connotation as the major catalyst behind the production is not aesthetic but devotional. The Lukumi must be well versed in a series of traditional rules that guide the creative process. The artist must be familiar with the general aesthetic preferences of the orishas to whom they are catering and often the specific preferences of an orishas roads, or avatars, as well. Gratifying the orisha is an extremely important consideration, for the orishas pleasure or displeasure with the work can have divine influence on the artists prosperity in the community. Additionally, the artists must create an item that is aesthetically pleasing to the olorisha who has requested the work and to the community, who will frequently see the work during ceremonial functions and gatherings. The community is very influential in spreading the word about an artists grace and dexterity or lack thereof. They can be influential in closing roads if they do not find the work appealing and worthy of the orisha for whom it was created.

This section will pay homage to the work of a community of Lukumi artists.

From the home of the late Rigoberto "el de Madruga" Rodriguez, Oshun Yemi, comes this photo of a section of the shrine where the late Oshun Yemi's attributes for Aganju and Obatala are exhibited. Since his death, the house has been converted into a museum. Though the orishas are no longer there, many of his original hand painted jars, Spanish mantillas (embroidered silk shawls) and panels, mazos, and other attributes are kept in situ, "as if he were still alive." Oshun Yemi's museum-home is one of the most beautiful examples of the Lukumi combination of religious devotion and aesthetic expressions. Cuba, 2001.

© 2001-2007, Miguel Ramos  

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