OSHUN IBU AÑA UN CAMINO PODEROSO

OSHUN IBU AÑA A POWERFUL PATH This beautiful path of Oshún is the owner of the transmission of music and jealously guards the secret of the mystery of Aña, the foundation drums. She possesses the great arcane sigil of music, a realm that she often shares with Shango. This path of Oshún Ibú Aña is native to the Tápà land: Ara Takua, a region located north of the kingdom of Oyo. In Cuba, it is considered that this path of Oshún was the intimate wife of Shango with whom she spent the most time in her life. She delights in music and loses herself in the percussive rhythm, not only the Aña drum, but any type of drums that are playing. Despite the prohibition against women being able to swear in Aña, the divinity Aña as such is a female orisha. Ibú Aña is born in the Ifá odun Òtrúpòn Ogbe, and through the Dilogún, the snail, she manifests in the sign Ofun Unle. This path of Oshún, so that she may hear well, is rung with five bells at the same time. She lives atop a drum with three osain guiritos wrapped around it. She carries two spears, two oars, ten rings, and ten fishhooks. Some also say that her name alludes to “she who does not hear the drum, but runs towards it”, since her full name is “Ẹni Tí Kò Aña Gbọ́ Ìlù Ṣùgbọ́n Ósá Lọsí ỌD nà” Oshún Ibú Aña, has a close relationship with Elegua, since oral tradition says that the first one who learned to play the drum was Elegua. The latter was emphasized by McKenzie when he spoke about a study conducted by the missionary James White, who reviewed the life of a Yoruba drummer named Àjàká, they stressed that the true owner of the drum was Obatala, the guardian Oshún Ibú Aña, and the one who played it was Elegua. Ibú Aña is also partly responsible for the communication between the earth and the cosmos. This is why this path of Oshún is responsible for the communication between earth and sky, from the earth (Ìkólé aye) to the sky (Ìkólé òrun). In turn, she, as a feminine deity, is intertwined with ayan-aña, who is also a feminine deity, daughter of Igba Odu, the womb of creation. Oshún, as the first feminine irúnmolè, was the one who brought the spirituality of Aña to the earth. Obatala gave her training in building the drum, Shango gave her transmission, and Eleguá played it throughout the village. Ibú Aña is famous for her dancing; she never tires. Oshún Ibú Aña is the most mature manifestation and path of Oshún, something that is observable when she passes through the heads of her children. She is very calm and serious. She tends to be very dry, peaceful, and somber, and rarely smiles. Unlike other paths, Ibú Aña doesn't smile cynically like the other paths of Oshún. In general, she is stern and unwavering; sometimes appearing cold or indifferent. But appearances can be deceiving, as Ibú Aña is generally not prone to harshly punishing her children, acting more as an intercessor on their behalf. Even when her children make mistakes, she is very prone to forgive very easily. Very rarely, she punishes severely, and it must be a very severe lack of respect for this path of Oshún to retaliate against her children. This path of Oshún lives in the waters of the river's current, where the water crashes against the rocks on its banks. The sound the river water makes when it hits an object or stone in the river is where Oshún Ibú Aña lives. She represents the very echo of the river, the sound caused by stones rolling and colliding in the river. There is a story about the birth of Ibú Aña, which tells that, for a time, Aña, a woman who played drum music, lived in Oyo. During one of the celebrations at the court of the Alaafin (king), she invited all the major drummers of Oyo land to play in the palace. Ayan-Aña consulted Ifá to see how she could gain popularity in the palace. She was told to offer two rams, which she was to carry on her shoulders, and play the drums around the palace. That day, it rained heavily, and all the drums, along with the musicians, were soaked in water and could not impress the king. Aña was able to play impressively even after the rain had stopped. When the king saw her, he liked her very much and invited her to play at all his festivals. The king liked Aña's playing so much that he invited her to live in his palace. From that day on, the kings decreed that when large thanksgiving celebrations were to be held, Aña had to be called upon to play and carry the message to Olodumare. In ancient times, all kings had their own set of Aña drums in their palaces. In various Yoruba lands, many maintain this tradition. Let him listen to you. His children must beg him for his help. #davidalaaggayu #santeriacubana #santeriaafrocubana #oshun #ibuaña #cantosyoruba #cantososhun