Eleggua
Elegguá is the guardian of the crossroads, the intersection of thespiritual and material planes. He is the gate keeper, the messenger betweenhumans and the orisha. Some of Elegguá's most common depictions are thatof a trickster and a child. His colors are red and black. All Lucumíceremonies begin and end with songs to Elegguá. This opening song isappropriately called The Crossroads. Lázaro Ros' nasal "doublereed" sounding voice immediately grabs one's attention. His call says: "Baraloure soke eboda, omo onna alguana ko mama kennia irawo e." Roughlytranslated, this means: "Elegguá on top of the mountain graciously acceptsthe sacrifice. Child of the roads, you were once a mystery".
Obatalá
Obatalá is the father of the world. His color is white and he isrepresented by the mountain. Felipe calls in the piece with the rhythmiccreativity that made him famous. In the second section, he sings the prayer:"Baba eleri Ifá, odu mila", ("Father, witness Ifá'sdivination, my salvation"). "(Bobo eworo), eki lala baba so lalao"("[Attention all initiates], fulfill dreams, father, speak dreams.")
Yemayá
Yemayá is the deity of the ocean, mother of the world and of most ofthe other orisha. This road depicts the sea in all her aspects, from calm watersto raging storm. It begins with Zenaida calling in Yemayá Asesu,one of the most beautiful Lucumí songs of all time. Her voice radiatesgrace and power. Asesu is the aspect of Yemayá at the ocean's surface. Sheis very serious and is slow in helping her faithful. The song says "You are theowner of the rivers. Why are you crying? Continue to speak of luck." In theaccompanying dance, women move in a circle, swooshing their blue and white skirtsin a wave-like motion. The tempo picks up as Lázaro calls in a new song.The men's and women's choruses alternate parts, finally coming back to singtogether. The piece climaxes with the fast tempo section depicting the fury ofthe storm.
Changó
Changó is the orisha of thunder and lighting, male virility and theowner of the batá drums. The first akpón is Felipe. According toFelipe, this song is a puya. It says: "One time when you were strong, you ate adove." A dove is a sacrifice that would not be suitable for Changó. Whenthe fast-paced meta section comes in, Lázaro takes over lead. For thefinale, Felipe returns for an elaborate call, an example of brilliantimprovisation within this traditional context.
Oyá
Oyá is the orisha of wind and the cemetery. She is also the riverNiger in west Africa and a wife of Changó. Lázaro begins callingthis a cappella prayer, which is an excellent example of an akpón talkingto Oyá about her various characteristics. She is the gardener and carriespeople to the cemetery. She is afefe , which means the first and lastbreath. Zenaida finishes the piece with the song "Oyá de(Oyá with your crown), mariwo (you rustle the reeds) omesa(you make quick and violent changes) loro (you who speak) yokoro(sit and speak).
Orula
Orula (or Orumila), possesses the table of Ifá, the highest Yorubasystem of divination. Some of the materials used in this system include cowryshells and kola nuts. Orula traded the ability to dance with Changó forthe table of Ifá . Akpón duties are shared by Lázaro andFelipe. The first words sung are: "Ifá yoko bi obo obi I yalawo",which means "Ifá, sit and divine with the kola nuts, mysteries of theworld".
Oddudua
According to some, Oddudua is the wife of Obatalá. One myth tells ofhow the supreme being Oludomare sent Obatalá down to earth to createpeople. When Obatalá arrived on earth, he landed on a palm tree. There inthe tree he drank some fermented palm juice and got drunk. In his altered stateObatalá created deformed people and then fell asleep in the palm tree.Seeing this from heaven, Oludomare was displeased and sent down Oddudua to doObatalá's job. Oddudua created people, but when Obatalá awoke, hewas upset that Oddudua had done his job and wanted credit for what Oddudua haddone. Lázaro exquisitely sings this song for Oddudua.
Babalú Ayé
Babalú Ayé is the orisha of infectious diseases. Felipe is thefirst akpón. Listen to how the drums "speak" in unison with the singers.The first song says: "Bariba ogede ma, mole Yansa mole ya" ("Bariba [anAfrican ethnic group], present an opportunity, bargain with Oyá, bargainto give way") The tempo picks up when Zenaida calls in the next road which isborrowed from the Arara system. Lázaro is the third akpón, with thelead vocal duties again returning to Felipe .
Elegguá
All bembés end with a salute to Elegguá. Lázaro andFelipe are the akpóns.
Call and response singing is a consistent element found throughoutsub-Saharan Africa. This formula is definitely one of the attractive aspects ofLucumi orisha songs. Another delightful element of these songs is their subtleinfluence from the European tonal sensibility. The introduction of Europeanharmonies makes Lucumi songs a type of musical hybrid.
The lead singer of the bembé is called the akpón. Theakpón directs the ceremony, ending songs and initiating new ones whenappropriate. The songs refer to the myths about the orisha (calledpatakins), sing praise to the orisha, or actually insult them. Theseinsulting songs, called puyás, are used when the initiates areunsuccessful in calling the orisha down to earth. Puyas are used to make themangry so they will appear. Traditionally, akpóns have known the meaningsof the songs they sing. Some have actually had the ability to speak Lucumifluently. However, as elders pass away, the meanings of these Lucumi songs areslowly being lost.
The Yoruba have a tradition of playfulness with words. A word can haveseveral meanings, and this fact is utilized in many creative ways. Whentranslating Lucumi songs into Spanish or English, it is important to keep in mindthat the translations are approximations. Because Lucumi is a creolized versionof early 19th century Yoruba, it is impossible to find an exact translation.
The medley of songs sung for each of the orisha are known as roads. A roadoften starts slowly with elaborately melodic songs, gradually increasing tempountil finally the songs are very short, consisting of only a few words. It isfrequently in that climactic moment of the rapid, short call and response songsthat the orisha will possess the mediums.
