Oshun is the deity of river waters and is also seen as the embodiment of love and sexuality. She represents the joy of life and is, in many ways, what makes life worth living. Oshun is the patron of gold and all wealth is hers to give. She also rules marriage and is the giver of fertility. Her influence is gentle and loving and she teaches humanity that the secret of life is love.
High priestesses are few and far between, white ones in Africa even more so.When Diane Esguerra hears of a mysterious Austrian woman worshipping the Ifa river goddess Oshun in Nigeria her curiosity is aroused. It is the start of an extraordinary friendship that sustains Diane through the death of her son and leads to a quest to take part in Oshun rituals. Prevented by Boko Haram from returning to Nigeria, she finds herself at Ifa shrines in Florida amid vultures, snakes, goats' heads, machetes, torrential rain and a cigar-smoking god. Her quest steps up a gear when Beyonce channels Oshun at the Grammys and the goddess goes global.
Examines the ways in which the inclusion of African diasporic religious practices serves as a transgressive tool in narrative discourses in the Americas. Oshuns Daughters examines representations of African diasporic religions from novels and poems written by women in the United States, the Spanish Caribbean, and Brazil. In spite of differences in age, language, and nationality, these women writers all turn to variations of traditional Yoruba religion (Santería/Regla de Ocha and Candomblé) as a source of inspiration for creating portraits of womanhood. Within these religious systems, binaries that dominate European thoughtman/woman, mind/body, light/dark, good/evildo not function in the same way, as the emphasis is not on extremes but on balancing or reconciling these radical differences. Involvement with these African diasporic religions thus provides alternative models of womanhood that differ substantially from those found in dominant Western patriarchal culture, namely, that of virgin, asexual wife/mother, and whore. Instead we find images of the sexual woman, who enjoys her body without any sense of shame; the mother, who nurtures her children without sacrificing herself; and the warrior woman, who actively resists demands that she conform to one-dimensional stereotypes of womanhood.
Ã’sun is a brilliant deity whose imagery and worldwide devotion demand broad and deep scholarly reflection. Contributors to the ground-breaking Africa's Ogun, edited by Sandra Barnes (Indiana University Press, 1997), explored the complex nature of Ogun, the orisa who transforms life through iron and technology. Ã’sun across the Waters continues this exploration of Yoruba religion by documenting Ã’sun religion. Ã’sun presents a dynamic example of the resilience and renewed importance of traditional Yoruba images in negotiating spiritual experience, social identity, and political power in contemporary Africa and the African diaspora. The 17 contributors to Ã’sun across the Waters delineate the special dimensions of Ã’sun religion as it appears through multiple disciplines in multiple cultural contexts. Tracing the extent of Ã’sun traditions takes us across the waters and back again. Ã’sun traditions continue to grow and change as they flow and return from their sources in Africa and the Americas.
Goddess Oshun: Beauty, Love and Prosperity Journal-Notebook - Record your Spiritual Journey, Thoughts and Personal Development. * 120 pages - Blank + Lined* 6" x 9" Paperback notebook, soft matte cover * Perfect for gel pen, ink or pencils* Great Gift Item
Divining the Self weaves elements of personal narrative, myth, history, and interpretive analysis into a vibrant tapestry that reflects the textured, embodied, and performative nature of scripture and scripturalizing practices. Velma Love examines the Odu—the Yoruba sacred scriptures—along with the accompanying mythology, philosophy, and ritual technologies engaged by African Americans. Drawing from the personal narratives of African American Ifa practitioners along with additional ethnographic fieldwork conducted in Oyotunji African Village, South Carolina, and New York City, Love’s work explores the ways in which an ancient worldview survives in modern times. Divining the Self also takes up the challenge of determining what it means for the scholar of religion to study scripture as both text and performance. This work provides an excellent case study of the sociocultural phenomenon of scripturalizing practices.
