Nana Buruku

from Wikipedia, the free encyclopedia
Attributes of Nanã
Colours Purple, white, black
numbers 6.13
weekday Sunday
Natural element Water, earth
Nature manifestation Primeval ocean, spring, mud, bog
plant Eupatorium ballotaefolium, Centhratherum punctatum, Polypodium vulgare, Solidago microglossa
Cowrie shell Ejiolugbon (13 open, 3 closed)
eat Buruburu (corn popcorn with coconut), Canjica branca, Mungunzá (sweet corn dish with coconut milk)
Sacrificial animal Chicken, pigeon, duck, snail, goat, turtle

Nana Buruku also Nana Burukuru , Nana Buluku or Nana Bukuu is a water goddess, an Orisha or Orixá in the religion of the Yoruba and the Afro-American religions based on it such as the Brazilian Candomblé or the Cuban Santería . The correct spelling for the Afro-American religions is Nanã or Nanã Buruku .

It is the primordial ocean or the source and rises from the primeval mud of humanity. She is the oldest deity, an old woman and ancestral mother, Iyá Agbà. It is even older than creation itself, since it already existed before everything else.

In the religion of the Yoruba as well as in Brazil she is one of the mantic orishas who are questioned with cowries . There she is recognized with the game Merindilogun of Odus Ejilugbon (13 open, 3 closed mussels).

She is greeted with "Sálù bá Nàná!" (We drive away death with Nanã!)

In Africa

In the mythology of the Fon from Dahomey, she is the primordial deity, a Vodún from which the moon and sun gods Mawu and Lisa emerged , the creators of the world and of life.

In Africa she is an orisha of the earth.

In the myth, she gave Obatala metal so that he could cast weapons from it. Obatala created the first humans with metal.

In the Americas: Brazil

The legend Nanã offered the mud to create man / Nanã fornece a lama para a modelagem do homem tells of the creation of the world and man. Olorum commissioned Oxalá to create the world and man, but he couldn't do it through air, wood, stone, fire, oil, water, or palm wine, so Nanã Buruku helped him with mud. Oxalá was able to shape people out of clay. When people die, they go back to earth, to Nanã Buruku. In Brazil, female deities or the feminine in itself are important.

The legend Iemanjá heals Oxalá and receives power over the heads / Iemanjá cura Oxalá e ganha o poder sobre as cabeças reports: Nanã is the wisdom of the elders; it is the beginning of everything, the primordial mud from which Obatalá formed people.

The legend Nanã hides the ugly son and shows the beautiful son / Nanã esconde o filho feio e exibe o filho belo tells of her two sons Oxumarê and Obaluaiê. Nanã took pity on her ugly son Obaluaiê and covered him with straw so that no one would see him. Oxumarê, her beautiful son, lifted her up into the sky like a rainbow, so that everyone should admire him.

The legend Nanã has a son with Oxalufã / Nanã tem um filho com Oxalufã tells of the relationship of Nanã with the old Oxalá, Oxalufã. Nanã was well known as a lawyer, but her verdict was mostly dubious: she always punished men and preferred women. To appease them, the male Orixás decided to get Nanã a lover, Oxalufã. When she fell in love with him, she wanted a son from him. But he replied that they both have the same blood. So Nanã made Oxalufã fall asleep by a magical powder, slept with him and became pregnant. When he woke up again, he could no longer trust Nanã and left her to live with Iemanjá.

The legend Nanã forbids metal tools in their cult / Nanã proíbe instrumentos de metal no seu culto tells of the rivalry between Ogum and Nanã Buruku. Since Ogum is the owner of all metal that is necessary for the sacrifice of animals for the Orixás, Nanã and all her devotees renounced the use of knives and all objects made of metal in religious ceremonies.

Nanã is married to Oxalá and is the mother of Obaluaê ( Babalú Ayé ), Oxumarê ( Oshumaré ), Iroko (or Tempo) and Euá .

There are different qualities of Nanã: Nã Xalá, Nã Selê, Nã Djapá, Nã Buku or Buruku, Nã Ajaosi, Nabaim.

symbol

She is usually represented with a broom, the so-called Ibiri, which is to be understood on the one hand as an apotropaic protection against the sickening influences of her son Babalú Ayé and on the other hand as a scepter.

In the Brazilian Candomblé it is materialized through the Assentamtento (seat or altar of the deity) Igba Nanã .

In the syncretistic association with Catholic saints , she is venerated as Saint Anne, mother of Mary .

Appearance

Besides Iansã ( Oyá ) and Euá , she is also a goddess of death. Since she stands at the transition between life and death, she has the power to put death in check.

Like all goddesses associated with water, Nanã's realm is that of felt experience and emotional imbalances. It is responsible for survival, for rebirth after a severe crisis caused by illness and inexplicable and unconscious blockages. It is the beginning and the end. On the cosmic level, she transforms the paralyzing feelings of a trauma into moments that can be lived again. Memories are forgotten in order to be born again. Symbolically, the damp ground, the Nanãs own mud, give the water stability and thus a basis for building a new life.

As the oldest water goddess, she represents experience, wisdom and patience.

She protects disabled people.

Those consecrated to her, so-called filhas- and filhos-de-santo, are very honest.

literature

  • Gisèle Omindarewá Cossard: Awô. O mistério dos Orixás. Pallas, Rio de Janeiro 2008, ISBN 978-85-347-0396-3 , p. 65.
  • Cléo Martins: Nanã. A Senhora dos Primórdios. Pallas, Rio de Janeiro 2008, ISBN 978-85-347-0406-9 .
  • Reginaldo Prandi: Nanã. In: Mitologia dos Orixás. Companhia das Letras, São Paulo 2001, ISBN 85-359-0064-0 , pp. 194-201.
  • Pierre Verger: A contribuição especial das mulheres ao candomblé do Brasil. In: Artigos. Tomo I, Corrupio, São Paulo 1992, OCLC 30918624 , pp. 93-117.

Web links

  • Nanã. at: seteporteiras.org.br , last accessed on November 11, 2012.

Individual evidence

  1. ↑ a b c d e Nanã. ( Memento of the original from November 6, 2012 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. on: seteporteiras.org.br @1@ 2Template: Webachiv / IABot / www.seteporteiras.org.br
  2. ↑ Cossard: AWO. O mistério dos Orixás. 2008, p. 140.
  3. ↑ a b Cossard: Awô. O mistério dos Orixás. 2008, p. 86.
  4. ↑ Cossard: AWO. O mistério dos Orixás. 2008, p. 106f.
  5. ↑ Cossard: AWO. O mistério dos Orixás. 2008, p. 109.
  6. ↑ a b c d e Cossard: Awô. O mistério dos Orixás. 2008, p. 56.
  7. ^ William Russell Bascom: Sixteen cowries: Yoruba divination from Africa to the New World . Indiana University Press, 1993, ISBN 0-253-20847-5 , p. 4.
  8. ↑ Ruth Hampe: Woman and birth in a cultural comparison. An art and culture analytical study . Lang, 1995, ISBN 3-631-48420-8 , p. 47.
  9. ↑ David J. Krieger, Christian J. Jäggi: Nature as a cultural product: cultural ecology and environmental ethics. Birkhäuser, 1997, ISBN 3-7643-5488-7 , p. 272.
  10. ↑ Teresa N. Washington: Our mothers, our powers, our texts: manifestations of Àjé in Africana literature . Indiana University Press, 2005, ISBN 0-253-34545-6 , p. 64.
  11. ↑ Prandi: Nanã. 2001, p. 196f.
  12. ↑ Verger: A contribuição especial ... 1992, pp. 93–117.
  13. ↑ Prandi: Nanã. 2001, p. 398.
  14. ↑ Nanã a sabedoria dos mais velhos, que ao mesmo tempo é o princípio de tudo, a lama primordial com que Obatalá modela os homens.
  15. ↑ Prandi: Nanã. 2001, p. 197.
  16. ↑ Prandi: Nanã. 2001, p. 198ff.
  17. ↑ Prandi: Nanã. 2001, p. 200f.
  18. ↑ a b Peter Rutherford McKenzie: Hail Orisha !: a phenomenology of a West African religion in the mid-nineteenth century . Brill, Leiden 1997, ISBN 90-04-10942-0 , p. 70.
  19. ↑ In the West African Yorubaland Obatalá takes this place of protection for disabled people, which is based on a legend about which u. a. Teju Cole reported in his 2011 novel "Open City". (Teju Cole: Open City. Faber & Faber, London 2011, ISBN 978-0-571-27942-5 )