#yemaja

[joannechocolat]

Mermaids and Mr Freud...

What do you think when you hear the word “mermaid”? Chances are, you’ll imagine a beautiful girl with a sparkling fish tail, naked breasts, flowing hair, gazing into a mirror: a scene straight out of early 20th-century Golden Age illustrators Arthur Rackham and Edmund Dulac. Or perhaps you see Ariel, Disney’s 1989 cartoon version of Hans Christian Andersen’s The Little Mermaid, with her cherry-red hair and purple shell bikini. That romanticized – and Disneyfied – picture of a mermaid seems fated to endure with this year’s live-action The Little Mermaid film (though the casting of Halle Bailey in the title role has prompted as much racist backlash as it has celebration. The mermaid of Andersen’s 1837 fairytale was white, say the purists.) But Andersen himself drew on a far older, stranger, and more subversive folklore to write his story. His tale of a mermaid who, falling in love with a human prince, is forced to sacrifice her tail and her voice in order to become human, was deeply influenced by Undine, the 1811 novella by Friedrich de la Motte Fouqué, which in turn was inspired by the 16th-century occultist Paracelsus, who coined the word “undine” to describe an elemental water spirit who can only gain a soul by marrying a human. And mermaid legends, like so many other fairytales, have been shared in many parts of the world for millennia. One of the earliest mermaid stories dates back to sometime around 1000 BC. In Assyrian mythology, the goddess Atargatis, who was venerated for thousands of years all over the Middle East, attains a half-fish, half-human form after throwing herself into a lake. The Yoruba spirit, Yemoja, who is represented as a mermaid, appears under other names as an ocean and river mother goddess – Yemaja, Yemanjá, Yemoyá, Yemayá – across half the world. Mami Wata – a water deity sometimes known as La Sirène - revered in Haiti and many parts of Africa, often appears as a mermaid, with a mirror that allows the passage from one plane of reality to another. And so it goes, from the ningyo of Japanese folklore to the sjókonar of Norse sagas. It is one of the most powerful archetypes in our shared dreaming. Nor were mermaids always understood to be mythological. Throughout the Middle Ages and beyond, European bestiaries and illuminated manuscripts portrayed mermaids as real creatures. On several occasions fishermen have claimed to have caught them in their nets. Early explorers reported mermaid sightings – although it is more likely that they were dolphins, seals or manatees, mistaken for mermaids by sailors expecting to encounter exotic beasts on their journey. Since then, humans have stubbornly continued to look for proof that mermaids are real (so far, without success).  What does the mermaid mean? Why is the half-fish half-woman such a potent, enduring legend? At the heart of these stories is the question of women’s power. Fairy tales and folklore have played an important role in challenging societal roles and giving people opportunities to discuss difficult or taboo subjects through the safety of metaphor – in this case, through the image of a woman whose irresistible sexual power over men is balanced by her own inability to function sexually or to reproduce. And in the days when pregnancy and childbirth often proved fatal, that might not have been such a bad thing. The mermaid cannot be raped, or forced to give birth. Not being human, she is not bound by the conventions of human society or the laws of the Church. She enjoys both the freedom and the sensuality of her element without any of the attendant dangers or discomforts. In folklore, the mermaid has independence, and can exercise sexual power over men, which makes her ultimately dangerous, unnatural: a monster. Perhaps this is why so many ancient myths and medieval bestiaries depict mermaids as untrustworthy, deceitful creatures, leading sailors to their doom. Their bodies are all sexual promise, but no sexual reward; and their voices are so enchanting as to drive men to madness. Unable to fulfil what some believe to be a woman’s biological destiny, they are often portrayed as soulless. Because a woman who uses without being used, who seduces without being seduced, who moves through water and air – whereas men are doomed to drown if they venture into the mermaid’s world – is a challenge to God, to the patriarchy, and to order itself.  In The Little Mermaid, Andersen tamed this older, more radical tradition. The moralism of his tale serves the dual purpose of mastering the mermaid – of making her fall victim to a human’s charms, rather than the more traditional way around – and taking away her power. The mermaid, made helpless by love of her prince, gives up her native element and the autonomy that comes with it, and exchanges it – via a witch’s spell – for a pair of feet, though walking causes her terrible pain. She also relinquishes the power of speech, which means that she is incapable of expressing her love in any way but the physical. And if her prince falls in love with someone else, then the mermaid is doomed to die on the instant, and to forfeit the soul for which she has sacrificed everything. Her entire being – her very existence – becomes dependent on the love and approval of her prince. Her independence, her challenge to the patriarchal status quo is gone. Though the ending of Andersen’s tale is – to a certain degree – redemptive (the mermaid, refusing to take the life of her prince in order to save her own life, is borne aloft by spirits of air and promised an eternal soul), it seems very cruel, especially as the heroine is only fifteen years old. A contemporary reader might well see in Andersen’s telling a warning to an emerging women’s movement – women’s power has often been seen as fragile, unnatural, and at the mercy of emotion. Unlike the tragedy of Andersen’s mermaid and prince (and of Fouqué’s Undine), the 1989 Disney film rewards Ariel and Eric with a happily-ever-after ending. And it tells their story in a cheery, colourful palette (a stark contrast to Kay Nielsen’s original dark, eerie concept drawings for the film), which while being pleasingly child-friendly, also reduces the mermaid’s essential alienness, and minimizes her sacrifice, thereby making her tale into little more than a love story with a little added jeopardy.

 But Disney also perpetuated other tropes. It is meaningful that the sea witch who provides the mermaid with the spell fits the older-woman archetype well represented in fairy tales: embittered by age, envious of the little mermaid’s youth and beauty. She is the one who demands the mermaid’s voice as payment for her services: a potent image of an older generation, silencing the voices of youth. (In Andersen’s telling, she too is the one who demands that the mermaid’s sisters cut off their hair in order to save their sibling.) The older woman is filled with rage and contempt for the younger woman; taking pleasure in their humiliation and the loss of their power. And as the tentacled Ursula in the Disney version, she is especially monstrous. 

  Over the centuries, fairy stories have always been reinvented to serve the needs of the changing times. And people have often fretted about this. (In 1853, Charles Dickens criticised the trend for rewriting fairytales to fit didactic, contemporary concerns.) But perhaps that the meaning of the mermaid has drifted further and further away from its origins in ancient folklore should not be cause for too much concern. Today, the mermaid has become the symbol of the trans community, whose members often feel the generational divide especially keenly. And there are endlessly imaginative ways to retell the tradition. (In 2008’s Ponyo, Hayao Miyazaki spins his tale of a goldfish who longs to be human into a charming meditation on childhood.) 

 Like the ever-evolving traditions of fairytales, magic, too, is transformative. In stories, magic acts as a metaphor for the change we seek to effect in our lives, in ourselves, in the world around us. Perhaps that is why fairy tales resonate so deeply with us. Why else would we cling to them, retell them in so many ways? They teach us not that magic exists, but that change is possible. They teach us not that dragons exist, but that monsters can be overcome. And they teach us to hope, in the face of a world that seems to be getting harsher and more confusing by the day, that sometimes love can save us, and that, even in the face of the cruellest kind of tyranny, we can still keep control of our fate, and hope for a happy ending –not just a Disney wedding, but something perhaps more satisfying. In films like Moana - or more recently Ruby Gillman, Teenage Kraken – the love story is with the sea; a story of claiming, rather than giving up power. Mermaids – in all their aspects – are still working their magic on us. And now, perhaps more than ever, it’s time to listen to their song.

[bktrashcat]

Idk if anyone has said this, but I am 99% sure Buttons is not saying "balmy water" at the end of episode 4, but that he is addressing Mama Wata, an African goddess of the sea. Pretty sure instead of "(reciting incantation)," he's also calling out to Yemaja, aka Yemaya, aka Yemanjá, aka Lemanja, who is also an African and Latin diaspora spirit/goddess/mother of the sea (simplified).

I was thrilled to hear those names here, so I hope they update the closed captioning, if true. I love that these writers give 0 shits about historical accuracy, but do care enough about cultural inclusivity to mention Orishas and non-western based spirituality in a way that isn't threatening or scary or demeaning.

[blerdsunited]

Amazing! Known artists are watermarked, unknown artist are not.

ARTWORK IN HONOR OF: Yemonja, Yemonja, also spelled Yemoja or Yemaja, Yoruban deity celebrated as the giver of life and as the metaphysical mother of all orisha (deities) within the Yoruba spiritual pantheon.

Art: Apollo Inspired. Apollo is mostly known for being the God of The Sun and Light. But he is also the god of poetry, healing, music, plagues, knowledge, order, prophecy, beauty, agriculture, and archery!

Concept Artwork of Ma'at. Maat or Maʽat comprised the ancient Egyptian concepts of truth, balance, order, harmony, law, morality, and justice. Ma'at was also the goddess who personified these concepts, and regulated the stars, seasons, and the actions of mortals and the deities

[feminoiredesigns]

Beautiful Black Woman in Teal With Long Natural Hair in Twists Hairstyle as an African Ocean Goddess (Orisha) - Modern Oil Painting Portrait of Yemaya / Yemaja / Yemoja

[fysa]

drawing how magic looks in yemaja in the form of a pretentious girl vs basketball jersey wearer. you can read about it on the page

[dearmouse]

Yemayá (Yemọja) Yoruba Goddess of Creation, Water, Moon, the Motherhood, and Protection.

Yemọja (also: Yemaja, Yemanjá, Yemoyá, Yemayá; etc) is the major water spirit from the Yoruba religion. She is the mother of all Orishas. She is also the mother of humanity. She is an orisha, in this case patron spirit of rivers …

Yemọja is often depicted as a mermaid, and is associated with the moon (in some diaspora communities), water, and feminine mysteries. She is the protector of women. She governs everything pertaining to women; parenting, child safety, love, and healing. According to myth, when her waters broke, it caused a great flood creating rivers and streams and the first mortal humans were created from her womb.

[nordseehexe]

The existence of mermaids in Haiti are connected to a particular female Haitian water spirit known as Lasiren. In Haitian folklore, Lasiren is the queen of the sea and the maritime counterpart of love and beauty spirits

The mermaid queen, who is said to dwell in a beautiful underwater castle but may also be seen on the surface. She comes to the surface frequently where she might be observed by humans. She is revered as a mermaid. When a mermaid appears in Haiti, it is often assumed to be Lasiren.

It’s not certain whether there are many different mermaids or if it’s simply the same one that people see. Some say that there are in fact several mermaids in the seas surrounding Haiti. By depicting various mermaids, some artwork suggests that there are more than one.

2. She’s an Important Figure in the Haitian Voodoo Religion

You notice right away that Lasiren is a key figure in Haitian Voodoo culture when you look into her. To begin with, it should be stated that Voodoo is not what you see in Hollywood horror films. These are unhealthy representations of the actual religion of Voodoo, which incorporates various spiritual systems.

In Voodoo there is a single supreme god, similar to the Catholic God, called Bondye, which means “the good god”.

Voodooists likewise believe in spirits known as Lwa (or Loa). These are involved in everyday activities and, as a result, are more visible in people’s lives. The Rada, Petro, and Ghede families of Lwa exist. Lesiren is a Lwa. She’s one of the most well-known mermaids in Haiti and an essential Lwa.

3. She is the Ebodiment of the Divine Feminine

Lasiren is a goddess in Haitian mythology who symbolizes the three sides of women’s nature: mother, lover, and goddess. Danto and Freda are Lasiren’s two sisters, as well as the three aspects of femininity.

The calming and powerful mother was symbolized by Danto. The lover is what Freda stands for: a sexy, emotional, and temperamental woman. As the ocean queen, Lasiren represents both the mystical and spiritual element of a woman.

mermaids in haiti

4. Haitian Mermaids Abduct Women

The Greek sirens, in particular, seem to enjoy attracting males. Lasiren on the other hand is often portrayed as an abductor of women.

If a woman is dragged into the water by Lasiren, there are two possible outcomes. She drowns or she returns with new abilities, such as the gifts to heal and see into the future.

Another probable cause for Lasiren’s distinct interest in ladies may be her function as the goddess of femininity. She has a much greater connection to women through their spiritual aspects, which might explain why she is more interested in them.

5. Lasiren has many Looks

The lovely mermaid of Haiti is known as Lasiren. However, there is no clear description of what she appears like other than that she has long black hair.

She is most often depicted as a mermaid with a fishtail. She is also just depicted as a beautiful woman. This picture is frequently seen on shrines and has to do with Lasiren’s worship.

She isn’t a mermaid, but she does resemble one. By the way, aquatic creature depictions do not necessarily indicate that she is not a mermaid. There may be a fishtail beneath her long flowing dress! She’s an aquatic spirit with considerable abilities, after all.

The Haitian flags are one of Lasiren’s favorite arts. The Haitian flags, which are often used in Lasiren rituals, are one such art form. They are handcrafted and have a lot of small stones.

6. Mermaids in Haiti Have Strong Ties to African Water Goddesses

Lasiren accompanied the African peoples who were brought to Haiti against their will slave traders. She is frequently referred to as Mami Wata or Yemaja, the Haitian variant of the African water spirits.

It is difficult to define whether they are beings or spirits, but their origins and roles in society are similar to those of Lasiren. They’re venerated as gods in parts of Africa and North America. In Africa, on the other hand, they have a stronger link with snakes. Lasiren stands out because she combines both African and European elements.

7. Christopher Columbus saw Haitian Mermaids

Christopher Columbus claimed he saw three mermaids while sailing to America in 1493, which is interesting given that the term “mermaid” was not used until almost 400 years later.

Could this be proof that mermaids have inhabited Haiti all along? There is one issue. According to Columbus, the mermaids appeared like unappealing bearded men! That doesn’t seem like the lovely Lasiren at all.

The claim that Columbus observed mermaids is disputed. Instead, it is thought that he saw manatees rather than mermaids.

8. She Accepts Gifts in Exchange for her Services

The Voodoo religion’s followers, for example, give the Lwas food and specific items in order to gain their favor.

Mirrors, combs, jewelry, flowers, wine, doves, and perfume are all common Lasiren gifts. You’ll see all of these in the movies as well as many pieces of Lasiren artwork. However, these will rarely show what mermaids eat.

In exchange for the presents, Lasiren is reputed to assist her followers in a variety of ways. She has the ability to assist you in achieving financial success, good health, good fortune, and love. Some people even claim that Lasiren’s spirit enters the bodies of women, bringing them luck and love.

mermaid fancy dress

9. Lasiren’s Name Means “The Mermaid”

The term Lasiren was formed from the French word “la sirène,” which means “the mermaid” or “the siren.” Other spellings for Lasiren include Lasirn, Lasirènn and La Sirène.

Because of the impact of the French who conquered Haiti during the 17th century, French is one of the two official languages of Haiti. As a result, when African people were taken there against their will, they converted her name from to Loa Afrodisia (the Great Goddess) in French.

Today, less than 5% of Haitians are fluent in French. However, most of them speak Haitian Creole, which was formed by a combination of African languages, the native Tanoi language, and French.

The French name for the siren, “la sirène”, is sometimes mistaken for “the siren”. In English, however, it translates more accurately as “the mermaid.”

In romance languages like French, there is only one word for both mermaids and sirens (“la sirène”) because the distinction between sirens and mermaids became blurred during the centuries.

10. Lasiren’s Mirror has Special Meaning

Lasiren is another name for the sirens in ancient Greece, who appeared on rocky cliffs with a comb and a mirror. These were vanity items that were associated with her beauty. She is considered the Lwa of vanity because she is noted for caring about her appearance.

The mirror has two meanings, though. It can demonstrate a kind of portal between the conscious and unconscious realms, allowing you to view yourself more clearly. It also reminds me of something else. As a result, she also displays self-love and spiritual awareness.

[carlesjuzang]

THE YEMAJA PROJECT - Part Two

[parkerthewanderlust]

I have learned to welcome the rains.

The torrential downpours and thunderstorms that come unexpectedly in life.

I realize they are the purging, the cleansing, the washing away that is needed to usher in newness.

I learned today about Oya, the orisha of lighting. I love thunderstorms and when I saw the one today, I thought, which Goddess is purging this space. It was not violent, the storm, but it was a sweeping a cleanse. So i researched different goddesses of storms. And I learned of Oya:

"Oya is often depicted as a warrior queen, fierce and protective, embodying the qualities of strength, courage, and change.

In Yoruba mythology, Oya is one of the Orishas, divine beings that interact with humans and govern different aspects of life. She is considered a force of nature and is associated with wind, lightning, and tornadoes. Oya's power is believed to bring about transformation, both in the physical world and within individuals. She is seen as a catalyst for change, often associated with endings and new beginnings.

Beyond her association with nature, Oya is also regarded as a guardian of the ancestral realm and the gatekeeper between life and death. She is believed to assist with the transition of souls from the earthly plane to the spiritual realm."

I know that I have a connection to Yemoja/Yemaja. No doubt about it. Her gift day is even 3 days after my birthday, September 7th. Some people celebrate on September 6th. I cannot wait to celebrate her.

But I also feel this affinity to Oya, and perhaps my reverence is just a nod to her and appreciation of her fierce power. It is nice to connect with you, Oya. Thank you for cleansing our altar (nature) and providing the much-needed nourishment. Her colors are also dark purple/red, which reminds me of the red-spotted purple butterfly and the Phoenix, which is also dark purple/red. Transformation is afoot.

#spirituality #orisha #orishas #oya #gratitude #thunderstorms #goddesses

[davidsoto666]

YEMAYA

Yemayá, Yemaja o Yemòja es considerada generalmente la Diosa de las aguas y de su cuerpo, de acuerdo con la creencia popular, fluyen todos los ríos, las lagunas y el mar. Ye-mo-ja es una contracción de Yeye - Omo - Eja, la madre de los peces, la palabra Omo está empleada aquí en un sentido genérico. Hoy día se le asocia con el río Oggun y se le rinde un culto elaborado en aquellas áreas donde éste discurre, particularmente en Abeokuta. En Nigeria se dice que Yemayá nació en la la tierra Takua, que es donde nace el río Oggun y donde ella vive, por lo que esta zona se ha convertido en lugar de peregrinaje de infinidad de devotos.

Como ocurre con una buena cantidad de Orishas, Yemayá es también adorada en diferentes regiones y consecuentemente adopta diferentes nombres o formas, por ejemplo en Oyo la que impera es Mayelewo y un mito de ese pueblo, nos dice que ella era comerciante en la ciudad de Shaki. Se casó con Okefe que es título real de Orisha Oko y éste la insultó por sus grandes senos, lo que le dio el sobrenombre de Somu Gaga (senos grandísimos), ella avergonzada se sumergió en el río y se fue a vivir con Olókun bajo el nombre de Somu Gaga y sólo sale del mar en contadas ocasiones en distintos puntos de la costa.

Yemayá es una deidad asociada con muñecos, en África se le tallan con maderas preciosas y llevan cargas secretas según el camino de esta. Cuando está en la tierra le gusta vivir a la entrada de los montes, es trabajadora, vendedora de alimentos, tiñe telas y fabrica aceites de semilla de melón.

Los hijos de Yemayá no deben comer berro, ni quimbombó que son los ewes mas poderosos de Yemayá, se viste de varios colores y formas pero los principales son: Blanco, azul en todas sus tonalidades, el verde en todos sus tonos y el rosado, le gustan mucho las rosas blancas, cuando sus hijos tiene la salud quebrada debe llevar una canasta de rosas blancas a la orilla del Mar y allí llamarán a Yemayá echandole las rosas blancas. Yemayá nació con la Luna, como Obatala nacio con el Sol.

Cuenta la leyenda:

Yemayá no encontraba con quien casarse, Oggun decidió hacerlo y de esta unión tuvieron un hijo llamado Òrungan. Se plantea que Òrungan cometió incesto con su madre. Ella escapó horrorizada, pero fue persuadida calurosamente por su travieso hijo hasta que cayó de espaldas en la tierra completamente exhausta. Chorros de agua empezaron a salir de su cuerpo y estos chorros se unieron formando un lago y de su cuerpo emanaron las siguientes deidades: Olósà (diosa del lago), Olókun (dios del mar), Dadá (el dios de los vegetales), Shango (dios de la iluminación), Oggun (dios del hierro y la guerra), Oya (Diosa del río Niger ), Osún (Diosa del río Osún ),Obá (Diosa del Oba ), Oricha Oko (Dios de la agricultura), Ochossi (dios de los cazadores), Oke (dios de las montañas), Aje Saluga (dios de la riqueza), Soppona(Dios de la viruela), Orun (Diosa del sol), Osú (Dios de la luna).

Una fábula narra que Yemayá fue una mujer de gran belleza, pero que sólo tenía un seno. Debido a esto no quería casarse por temor a que su esposo pudiera ridiculizarla y exponer su secreto al mundo.

Un día iba caminando muy afligida hacia su casa, después de regresar del mercado, se dijo: Cuan triste es estar sola, regresar a casa sin niños y no tener esposo para quien cocinar. Oggun escuchó lo que ella dijo, ya que iba andando por el mismo camino. Sintió un fuerte deseo de casarse con ella y la abrazó y dijo: No temas. Sé que luzco fiero y todo el mundo me teme, pero no te haré daño. Te cuidaré y protegeré, pero hay una cosa que me tienes que prometer. Nunca debes burlarte de mis ojos inyectados en sangre. Yemayá estuvo de acuerdo en casarse con él. Confesó que tenía un solo seno y dijo: Debes prometerme una cosa. No toques nunca mi seno. Durante mucho tiempo cumplieron las promesas. Yemayá le dio muchos hijos a Oggun.

Un día Oggun quiso congratularse con Yemayá y entró a la cocina a hacerle una sopa, pero al no estar acostumbrado a estos menesteres dejó caer la olla, esta se rompió y toda la comida se regó por el piso.

Yemayá, que estaba descansando, se despertó con el ruido. Corrió hacia la cocina y al no percatarse de cómo había ocurrido el accidente gritó airadamente ¿Qué haces en mi cocina? ¡Tú con los ojos inyectados en sangre! Oggun se lamentó y se arrodilló a su lado, acariciándole el seno. Yemayá comenzó a temblar.

Se convirtió en agua y desapareció en un abrir y cerrar de ojos. Oggun se entristeció por perder a su amada esposa y entonces se dijo: La gentileza no está hecha para mi y apesadumbrado abandonó la casa para continuar su agitada vida de guerrero.

En las tradiciones nuestras, Yemayá adquiere otros atributos tales como: Una sopera coloreada de azul y blanco con atributos y herramientas como: Un sol, una luna llena, un ancla, un salvavidas, un bote, siete remos, siete aros, un llave, una estrella, siete aros de plata. Estos objetos elaborados en plata, acero, lata o plomo, un rabo de caballo con mango adornado con cuentas azules y blancas, maracas que se utilizan para saludar y para que preste atención cuando se habla con ella, un abanico con varillaje de nácar y oro, adornado con cuentas y caracoles, abanicos redondos hechos de pencas de guano adornados con plumas de pavo real, caracoles y cascabeles. Usa un manto de burato ricamente adornado. Todos estos atributos son adornados con patos, peces, redes, estrellas, caballitos de mar, conchas en miniatura, todo lo relativo al Mar. Siempre llevan cuentas azules y blancas alternas, piedras, cauries, etc..

Los collares son conformados con siete cuentas de cristal transparente, llamadas de agua y azules, azul pálido y agua, azul oscuro y perlas opalinas o cuentas de jabón, etcétera. A Yemayá se le ofrenda carnero, paloma, jicotea, pato, gallina, guano, codorniz, cerdo, guiso de camarones con alcaparras, huevos duros, acelga y tomate; tamal de maíz que se tiene todo el día en remojo, se muele en un pilón y se cocina batiéndolo en una cazuela sin grasa y sin sal, se le da forma de pirámide y se envuelve en hojas frescas de plátano; razupo de frijoles, (se ponen en remojo frijoles carita, se pasan por un guallo para quitarles la cáscara, se hacen una pasta y se le echa sal, se pican ajos y cebollas añadiendo pedacitos de jengibre a la masa, se pone en manteca caliente una bolsita de bija, y cuando hierve se vierte toda la masa de frijoles que antes se había batido bien, se preparan moldes de papel y se rellenan con esta pasta), quimbombó con bolas de plátano verde o ñame; frijoles negros cocinados sin caldo y sin maíz; palanquetas de gofio con melao de caña, coco quemado, berro, lechuga, escarola acelga y chayote.

Su fruta predilecta es el melón de agua, aunque también gusta de piñas, papayas, uvas, peras de agua, manzanas, plátanos y naranjas, frituras de ñame con melao de caña, maíz finado, arroz amarillo con carne de cerdo y mariquitas de plátano. Se acostumbra brindarle en una jícara el agua y de melao. De los peces, prefiere la guabina, la anguila, el pargo, la rabirrubia, la cabrilla, el serrucho, el lenguado, la aguja, la cherna, el emperador y otros. Al igual que hay espíritus en la tierra, los Yorúbàs creen también que hay espíritus que habitan en los ríos, las lagunas y el mar como es el caso de Yemayá. Estos son reverenciados principalmente por las personas que viven cerca de ríos, lagunas o el mar y creen que los espíritus, si son servidos adecuadamente, pueden a cambio satisfacer las necesidades del hombre. Ellos controlan la abundancia de la pesca, evitan el vuelco de las canoas y los accidentes en el río; algunos de los espíritus les dan hijos a las infecundas. Sus principales símbolos son las piedras pulidas por la corriente del río y diecis��is conchas de cauries, estas últimas se emplean igualmente como medio de adivinación por los devotos.

Oríkì Yemòja

(Alabando al espíritu de la madre de la pesca)

Bómi ìyámi

Sómi tómi

Bomi t'òkun

Wè isé àjé mogbé jinà

Fi bun mi omodé

Fi bun mi aláàfíà

Má kò àjé je mi

Má kò enia buburú pa mi

Yemoja ìyá gbogbo

Bómi ìyámi

Traducción.

Yemoja, madre de los peces,

La madre de las aguas en la tierra,

Nútrame, mi madre,

Protéjame y guíeme,

Como las olas del océano,

limpie la brujería que yo la llevo lejos,

Concédame niños,

Concédame paz,

No permita a las brujas devorarme,

No permita a las personas malas destruirme,

Yemoja, madre de todos,

Nútrame mi madre.

[jollysunflora]

and now I just noticed that I put Yemaja under both Void and Blood lol...and Pandora is a Hope denizen not a Doom denizen...

Massive Multicultural Denizen List

I based them on the 12 Archetypes, and took from a variety of cultures. As a rule, I limited each Aspect to only having one Greco-Roman Denizen. There are also four special Denizens, one of which is Gnostic, two are Greek, and one is Christian; the only specifically Christian Denizen. Please credit me if you use this! (Note: Your Aspect is not necessarily what your Denizen will be aligned with! It all depends on your lesson)

(http://jollysunflora.tumblr.com/post/168098218596/thanks-to-dahniwitchoflight-for-the-aspect)

Space White Buffalo Woman (Lakota)/Ruler Nut (Egypt)/Caregiver Mangechay (Philippines)/Jester Echidna (Greek)/Creator Bedawang (Indonesia)/Magician Izanami (Japan)/Lover Xbalanque (Mayan)/Everyperson Dhruva (Hindu)/Innocent Altjira (Australian)/Explorer Buri (Norse)/Revolutionary Cipactli (Aztec)/Sage Dayunsi (Cherokee)/Hero

Time Shulawitsi Kachina (Hopi)/Sage Ogun (Yoruba)/Creator Pele (Hawaii)/Caregiver Hephaestus (Greek)/Hero Kali (Hindu)/Jester Arachne (Greek)/Everyperson Aion (Phoenician)/Lover Iah (Egypt)/Magician Tai-Sui-Xing (China)/Ruler Estanatlehi (Navajo)/Innocent Fenrir (Norse)/Revolutionary Hikule-o(Samoa)/Explorer

Light Gnowee (Australian)/Lover Amaterasu (Japan)/Revolutionary Beiwe (Sami)/Magician Anansi (West Africa)/Everyperson Hemera (Greek)/Caregiver Sumyeong Jangja (Korean)/Innocent Olokun (Yoruba)/Ruler Thoth (Egypt)/Sage Sophia (Gnostic)/Creator Saule (Baltic)/Explorer Cao-Guojiu (China)/Jester Mikula (Slavic)/Hero

Void Sedna (Inuit)/Innocent Olapa (Masaai)/Caregiver Tsukiyomi (Japan)/Explorer Yemaja (Yoruba)/Creator Leviathan (Hebrew)/Ruler Nyx (Greek)/Hero Apep (Egypt)/Everyperson Anagolay (Phillipines)/Jester Naunet (Egyptian)/Magician Moai (Rapa Nuic)/Sage Zorya (Slavic)/Revolutionary Tiamat (Mesopotamia)/Lover

Life Corn Woman (Cherokee)/Explorer Diwata (Philippines)/Revolutionary Behemoth (Hebrew)/Hero Hebe (Greek)/Caregiver Shennong (Tibetan)/Sage Lakapati (Philippines)/Magician Geb (Egypt)/Ruler Tapio (Finnish)/Everyperson Zaka-Mede (Caribbean)/Jester Aine (Irish)/Lover Inara (Hittite)/Creator Cocomama (Incan)/Innocent

Doom Uktena (Cherokee)/Revolutionary Anubis (Egypt)/Innocent Hinenuitepo (Maori)/Creator Janus (Roman)/Everyperson Latura (South Nias)/Hero Boitata (Brazil)/Lover Chernobog (Slavic)/Magician Baphomet (Mesopotamia)/Jester Vetala (Hindu)/Explorer Tarvaa (Mongolia)/Caregiver Hel (Norse)/Sage Pandora (Greek)/Innocent

Breath Anitun Tabu (Philippines)/Innocent Susanoo (Japan)/Revolutionary Ataentsic (Iroquois)/Lover Abassi (Nigerian)/Magician Ziz (Hebrew)/Ruler Typheus (Greek)/Everyperson Tawhati (Maori)/Sage Thunderbird (Kwakwaka'wakw and Cowichan tribes)/Explorer Quetzalcoatl (Aztec)/Creator Thor (Norse)/Hero

Blood Wendigo (Algonquin)/Revolutionary Yemaja (Yoruba)/Creator Somtup (Baga of Guinea)/Innocent Archon (Gnostic)/Explorer Musubi-no-Kami (Japan)/Lover Obba (Yoruba)/Hero Nuckelavee (Orcadian)/Everyperson Hestia (Greek)/Caregiver Freyja (Norse)/Ruler Suonetar (Finnish)/Jester Mbokomu (Ngombe)/Magician Mukuru (Namibia)/Sage

Heart Oochigeaskw (Mi'kmaw)/Innocent Oshun (Yoruba)/Magician Alalahe (Polynesia)/Jester Psyche (Greek)/Sage Sadhbh (Irish)/Caregiver Agape (Gnostic)/Lover Nüwa (China)/Creator Hathor (Egypt)/Everyperson Vibishana (Hindu)/Ruler Caer (Celtic)/Hero Vainamoinen (Finnish)/Explorer Holle (Norse)/Revolutionary

Mind Grandmother Woodchuck (Wabanaki)/Caregiver Orunmila (Yoruba)/Creator Tahu (Tuamotu)/Revolutionary Radigast (Slavic)/Magician Vairocana (Tibetan)/Jester Ganesha (Hindu)/Sage Doppleganger (German)/Everyperson Maat (Egypt)/Innocent Telechines (Greek)/Explorer Nous (Gnostic)/Ruler Lugh (Irish)/Hero Mergen (Turkic)/Lover

Hope Kwatee (Nootka)/Magician Itzpapalotl (Aztec)/Revolutionary Seraphim (Hebrew)/Sage Abraxas (Gnostic)/Everyperson Akshobhya (Tibetan)/Innocent Balder (Norse)/Ruler Barong (Indonesia)/Lover Enki (Sumeria)/Creator Iris (Greek)/Caregiver Boraq (Arabic)/Explorer Gilgamesh (Mesopotamian)/Hero Ditaolane (Basuto)/Jester

Rage Nuada (Irish)/Lover Lillith (Hebrew)/Creator Kuchisake Onna (Japanese)/Innocent Apikunni (Blackfoot)/Explorer Hera (Greek)/Caregiver Feng Meng (China)/Sage Ifrit (pre-Islamic Arabic)/Revolutionary Set (Egypt)/Everyperson Odin (Norse)/Ruler Guan-Yu (China)/Hero Bamapana (Australian)/Jester Oni (Japanese)/Magician

***Special*** Yaldabaoth (Gnostic)/For warriors, usually Derse Ophiotaurus (Greek)/For double dreamers Cerynitis (Greek)/For heroes, usually Prospit Raphael (Christian)/For already tiered/mature heroes

[malkath-ha-zonot]

From the House of Yemanjá

By Audre Lorde

My mother had two faces and a frying pot   where she cooked up her daughters into girls before she fixed our dinner. My mother had two faces and a broken pot where she hid out a perfect daughter   who was not me I am the sun and moon and forever hungry   for her eyes. I bear two women upon my back   one dark and rich and hidden in the ivory hungers of the other   mother pale as a witch yet steady and familiar brings me bread and terror in my sleep her breasts are huge exciting anchors   in the midnight storm. All this has been before in my mother's bed time has no sense I have no brothers and my sisters are cruel. Mother I need mother I need mother I need your blackness now   as the august earth needs rain.   I am the sun and moon and forever hungry   the sharpened edge where day and night shall meet and not be one.

[blacksunscorpio]

Brujeria de Yemaja

[realityanddelusion]

🔮🧿💎✨🐚Yemaja loves all Femmes/T girls🐚✨💎🧿🔮

TERFS DNI

[fysa]

the website for Yemaja now has fully working navigational links. take a peek into the beautful oc world thats been in my brain for one and a half years