MythsOrishásOrishás

Orishá Yewá: The Guardian of Cemeteries and Purity

INTRODUCTION TO ORISHÁ YEWA

Orishá Yewá (also known as Ewa, Yegua, or Yegba) is one of the most enigmatic and powerful female Orishas in the Yoruba pantheon. Her domain includes cemeteries, purity, and the hidden aspects of life and death. Revered for her beauty and modesty, Yewá plays a crucial role in guarding the spirits of the deceased, offering guidance through transitions from life to the afterlife. Though less celebrated than other Orishas, her presence and influence are deeply felt in the traditions of Yoruba, Santería, and Candomblé.

ROLES AND MYTHS

Yewá (also known as Ewa, Yewá, Yeguá, Yegua, or Yegba) is an orisha in the Yoruba, Santeria, and other Afro-Caribbean religions. She is associated with the river, purity, the cemetery, and the transition between life and death. Here are ten roles of Yewá in these traditions, along with sources:

  1. Guardian of the Cemetery: Yewá is often associated with cemeteries and is seen as the guardian of the spirits of the dead. (Source: „Praise-poems to Yemanja and Obatala“ by John Mason)
  2. Protector of Virgins: She is often associated with purity and virginity and is considered a protector of virgins. (Source: „The Handbook of Yoruba Religious Concepts“ by Baba Ifa Karade)
  3. Orisha of the River: In some traditions, Yewá is considered an orisha of the river, similar to other deities like Oshun and Yemaya. (Source: „The Handbook of Yoruba Religious Concepts“ by Baba Ifa Karade)
  4. Goddess of Modesty and Decency: Yewá is seen as a goddess of modesty and decency, setting standards for moral conduct, especially among women. (Source: „Afro-Cuban Myths: Yemaya and Other Orishas“ by Natalia Bolívar Aróstegui)
  5. Embodiment of Mystery and Secrecy: Yewá is considered to be a somewhat mysterious orisha, symbolizing the hidden, secret, and mystical aspects of life and death. (Source: „Yoruba Culture: A Philosophical Account“ by Kola Abimbola)
  6. Guide to the Afterlife: Yewá is believed to guide the spirits of the dead from the world of the living to the world of the spirits, representing the transition between life and death. (Source: „Black Atlantic Religion: Tradition, Transnationalism, and Matriarchy in the Afro-Brazilian Candomblé“ by J. Lorand Matory)
  7. Enforcer of Divine Justice: In some stories, Yewá is seen as a figure who enforces divine justice, particularly relating to issues of purity, modesty, and respect for the dead. (Source: „Encyclopedia of African Religion“ by Molefi Kete Asante and Ama Mazama)
  8. Symbol of Inner Beauty: Yewá is often associated with inner beauty, as she embodies qualities of modesty, purity, and moral integrity. (Source: „Osun Across the Waters: A Yoruba Goddess in Africa and Americas“ by Joseph M. Murphy)
  9. Patroness of Women: Yewá is seen as a protector of women, guiding them in matters of purity, modesty, and decency. (Source: „Afro-Cuban Myths: Yemaya and Other Orishas“ by Natalia Bolívar Aróstegui)
  10. Caretaker of Ancestors: As a guardian of the cemetery, Yewá is seen as a caretaker of the ancestors, ensuring they are respected and remembered. (Source: „Praise-poems to Yemanja and Obatala“ by John Mason)

DESCRIPTION

Characteristics

SymbolOfá (Spear or Harpoon), Arrow and Bow, Scepter with tail hair of a bull or buffalo, Curved Dagger, Palm Leaf Fan
ColorsCrystal and Coral Red and Yellow, Pink
Natural PlacesThe Horizon (receives offerings in rivers and lakes)
FlowersWhite and Red Flowers
Essences%
StonesRuby, Pink Quartz
MetalGold, Silver, Copper
HealthBreathing difficulties and digestive problems
Planet%
WeekdaySaturday
ElementForest, reddish sky, stars, appearances
Chakra%
GreetingHiho! (Ri Ro)
Animals / OfferingsGoat, Duck, Fish, Guineafowl
PlantsCostus spicatus, Tannia, Foxtail Plants, Alpinia speciosa, Guazuma ulmifolia, Water Lettuce, Amazon Water Lily
OfferingsEgbo, white Canjica (corn dish), Yam Pudding, Cowpea, Corn
DrinksWhite Wine
FoodsPlantain fried in palm oil, roasted cassava flour (Farofa) in sweet oil, Cowpeas
Number%
Commemoration DayDecember 13th
Associated OduObéogundá
ResponsibilitiesBeauty, Clairvoyance, Sensitivity, Sixth Sense, Creativity
SyncretismSanta Clara de Assis, Virgen de Regla
ManifestationsAwó, Gebeneyin, Giyan, Banio, Awó, Fagemy, Salamim
Incompatibilities (Kizila)Chicken, Spider, Spiderweb
TitleOur Mother

General Description

Yewá or Ewá or Euá is a female Orixá from the Yewá River, which flows through the former territory of the Egbado tribe (now the city of Yewá) in the Ogun State of Nigeria (Lagos). This Orixá is represented in Merindilogun by the Odu Obeogundá. She is one of the Yabás (the female Orixás) and is sometimes considered the sister of Iansã and Oshumaré.  Yewá means  „My Mother“.

Yewá is a shadowy, mysterious, reclusive orisha. Yewá resides in the graveyard where she works in close partnership with her sister, Oya, the Cemetery Queen. Yewá is Queen of Cadavers, which she guards from time of death through funeral rites and burial, when she delivers them over to Oya. Oya may allow time for Yewá to consume corpses or otherwise preside over the reduction to skeletons at which time Oya takes over.

Yewá didn’t always live in the cemetery. She was originally a marine orisha, Olokun’s most beautiful daughter, ruler of lagoons together with Olosa. She was venerated within a cave that could only be reached by swimming across the lagoon.

Legend has it that when Yewá was still a very young virgin girl, Shango, that womanizer, secretly seduced her. She conceived. Boromu (or another sharp-eyed orisha, depending on the version of the myth) persuaded her to drink an herbal potion causing her to abort. Devastated and overwhelmed by her experiences, which she bore alone, Yewá buried the fetus beneath a tree and exiled herself to the cemetery, the realm of death.

Either before or after she ran away, Boromu went to Olokun to report the events. He brought Olokun to the tree where the remains were unearthed. (The child, named Borosia, resurrected at least in spirit, now serves as a guard of Olokun’s court.) Boromu may or may not now be Yewá’s husband (and whether he always loved her, hence his actions, or whether this was an arranged marriage to salvage her reputation is subject to debate).

Yewá is a severe orisha. In Africa, her devotees were obliged to be celibate. She was attended by eunuchs under the supervision of Logunedé. Although her Western Hemisphere restrictions may be somewhat looser, she still loathes promiscuity and any kind of sexual banter or humor. She doesn’t like explicit discussion of sex, and she doesn’t like innuendo either. She hates any kind of vulgarity and strongly disapproves of foul language and cursing.

Yewá is the Orixá of beauty. She is often worshipped alongside her brother Oshumaré. Together, they control the rainbow and the water cycle. Many see her as the female Oshumaré, also because she carries a snake with her, albeit a small one. She has control over mist and fog in nature.

At her birth, she appears as the daughter of Ogum and Nanã. Ogum rapes Nanã in front of her people. This legend begins when she forbids him from entering her lands. Nanã causes the mud to rise until it nearly kills Ogum. He escapes and injures her with a spear, which is why she dislikes metal in her belongings, as her flesh was cut by metal. Ogum regroups and wages a war against Nanã like no other, from which he emerges victorious, penetrating her lands in the end. He gathers her entire people in the village square and has intercourse with her in front of her people to demonstrate that he has conquered their queen. It is during this encounter that Yewá is conceived.

A beautiful girl, the only flawless child of Nanã. Yewá possesses nothing because Nanã had already distributed everything to her sick sons, Omolu and Oshumaré, but Oshumaré liked his sister very much and made an agreement with her that each of them would be the rainbow for a certain period of time, controlled by the other (not six months each). Oshumaré gives Yewá the white part of the rainbow, as it is a sacred part.

She is also known as Ìyá Wa. Like Yemanjá and Oxum, she is a female deity of water, sometimes associated with fertility. She is worshipped as the mistress of the world and the mistress of the horizon. In some legends, she appears as the wife of Oshumaré, who owns the white band of the rainbow, while in others, she is the wife of Obaluayê or Omolu.

Her origin is controversial. Some claim that Yewá, like Oshumaré, Nanã, Omolu, and Iroko, was initially worshipped by the Mahi and later assimilated by the Yoruba and incorporated into their pantheon. There was a female Orixá from the Daomé rivers called Dan. The power of this Orixá was concentrated in a snake that eats its own tail, symbolizing the eternal continuity of life, as the circle has no end. Yewá would therefore be the same as Dan or one of her halves, with the other half being Oshumaré. Yewá is an independent Orixá, called Eowá among the Jeje and Yewá among the Yoruba tribes.

She is a female deity of war and hunting worshipped at the Yewá River in Africa. She is exceptionally beautiful, and her name can also be translated as „Mistress of Beauty and Grace.“ Her main attributes are her ability to hide and transform. As the mistress of communication, she was tasked by Olorum with teaching people the differences between things that complement and complete each other, such as cold and heat, night and day, good and evil, and so on. She is also known as the „Mistress of Health“ and can transform sickness into health and vice versa. As the patroness of sensitivity and the „Mistress of Vision,“ she enables humans to enjoy and benefit from the beauty that surrounds them.

Yewá had many suitors who wanted to marry her when she was young and beautiful. She seduced Oxalufan, who lived with Nanã. That was her first sexual experience. She has two colors: violet and white, while Iku is violet, black, and white. It is said that Yewá was granted the right to use a knife by Ogum, which she hides between her breasts, with a wooden handle that remains visible. It represents the purity of death, for which we must prepare, as life is a preparation for the day when we must account for what we have done. Yewá gives people a little more time to await a person coming from afar before bringing the sleep of death.

Yewá only comes to those who are worthy of her; therefore, one must be pure in her presence. Those who are impure do not deserve a good death. She is skilled in dealing with poisons and has tried to poison several Orixás, including Exu, but without success. She managed to subdue Orunmilá and keep him as a slave for a long time. During this time, Oshumaré was a Babalawo (high priest) and used the colors green, yellow, and black. She also waged several wars against her brother Omolu, who ultimately defeated her with a slap and took away all her wickedness. And he broke her curse by Oxalá, which made her an old woman during the day and a beautiful woman at night.

According to some Itans (Ifá verses), she married Omolu (in others, he is her brother), whom she still fears greatly. She is the mother of all his children. When she was already Omolu’s wife, she helped a young man escape death, citing her position as Omolu’s wife. He rules over sleep and death. Poisons are the means by which she killed those who pursued her and whom she disliked.

She is an Orixá who protects virgins and everything that is unfathomable. Yewá has the power of clairvoyance (granted to her by the god of all oracles, Orunmilá), she is the mistress of the starry sky, the queen of the cosmos. She is the place that humans cannot reach.

Yewá is chaste, the mistress of possibilities. Virgins are under the protection of Yewá, as well as everything unexplored: the jungle, rivers and lakes in which one cannot swim and that are not navigable. Some believe that Yewá is only initiated in the minds of virgins because she herself is a virgin, the virgin of the jungle and the beloved daughter of Oxalá and Oduduá.

In some Itans of the Yoruba, she is referred to as the daughter of Odudua and Oxalá; in other legends, she is the daughter of Nanã and Sapatá (Omolu). Therefore, Yewá belongs to both the air element through her father Oxalá and the earth element through Odudua or Nanã. She is an extremely powerful and sovereign deity with connections to powerful Voduns, Nkisis, and Orixás.

She belongs to the water element, especially rainwater, and to the white band of the rainbow, which connects her to Oshumaré and demonstrates her direct relationship with the highest deity of the white color. This allows her to constantly supply the earth with water, highlighting the versatility of her transformations and her adaptability to different environments. She is a warrior deity, one of the Amazons from the group of war goddesses that do not tolerate the presence or rule of men in their territories.

She is also a huntress and, together with Oxóssi and other O-dés, helps protect the forest and its animals. However, she remains independent. For her, hunting and the forest should only be used to ensure human sustenance. Yewá disapproves of and does not allow hunting for pure pleasure. If that happens, she, along with Oxóssi, Ossaim, Iroco, and Ogum, ensures punishment, hallucinations, and confusion for those who violate her law and are seen as attackers and devastators of nature.

She also does not accept bad character; she dislikes distortions of the human essence such as injustice, deception, and lies. In her presence or at the location of her Igbá, arguments, noise, and especially discussions about people’s intimate lives are not allowed. She is the guardian of ethics, morals, and good behavior.

Everything related to Yewá must be done with dedication, uniqueness, refinement, and even a touch of luxury. Despite her warrior nature and Amazon-like behavior, she has exquisite taste and is very sensitive in her interactions with people. She has a perfect character, wisdom, and artistic sensitivity. She controls the emotional side, subjectivity, intuition, and imagination of humans, guiding and mastering their dreamlike side.

She is an Iyabá who is not very attracted to men because she is very reserved. Little is known about her relationship with other Orixás. Although she is a rare beauty, she does not possess the same femininity and sweetness as Oxum, nor is she as graceful and sensual as Oyá, nor as coarse and closed off as Nanã. Yewá has the cold beauty of snow. As the mistress of virginity, she is one of the great protectors of women and defenders of those who wish to remain pure and chaste, but she also seeks to help those who want to have children. However, due to this behavior and the behavior of some of her daughters, she cannot be classified as lesbian. They are just more reserved and sensitive. Their masculine behavior and domain frighten many.

Yewá exists in places that humans cannot reach; only nature and the gods manifest there. In addition to the white band of the rainbow, Yewá is also represented by white sun rays, snow, the white sap of (milky) leaves, seeds, and saliva.

Yewá and Cuban Santeria

In the practice known as Santería, there are three female entities closely associated with the world of the dead or „eggun“: Oyá, Obba, and Yewá. None of them represents death itself, which is referred to as Ikú and is avoided at all costs. Commonly referred to as the „muerteras,“ they symbolize the afterlife rather than the act of dying. Therefore, their domain par excellence is the cemetery.

Oyá, the first and most well-known in this triad, also known as Yansá, is the deity of lightning and wind, especially hurricanes, and the guardian of the cemetery, where she receives the eggun. „Oyá cleanses the deceased with her iruke, so they enter her house purified.“ Oyá is the liminal figure, the deity that stands at the threshold separating the world of the living from that of the dead. This is why many offerings to Oyá are not left at the graves but behind the cemetery gate. A powerful warrior, leading an army of eggun, Oyá is involved in tumultuous battles and loves, making her somewhat connected to the passions of this world. Oyá accepts all individuals without exception once they have passed away. That’s why, when someone is not accepted by the other orishas, Oyá takes them as her own children. However, she is a stern mother who does not hesitate to punish them severely.

Obba, the second „muertera,“ is the deity of lagoons, created by her tears. Her love for Shangó was so great that when one of Shangó’s other wives suggested treacherously that she cut off one of her ears to make amalá (cornmeal) for the King of Oyó, she immediately did so and offered it to her husband. Shangó was horrified and never visited her again. „Imagine, Shangó is a womanizer; he prefers beautiful women to faithful ones. That’s why he never wanted Obba without her ear again.“ Deeply disappointed, Obba withdrew from everything and everyone, retreating to the cemetery, where she turns her back on humanity and serves as the guardian of the graves.

Compared to Oyá, Obba represents a further step into the afterlife. She has distanced herself from worldly passions and people, with her position facing away signifying her complete connection to the realm of the dead. Obba does not possess her devotees in Cuba and, therefore, does not participate in dances. She is a relatively lesser-known orisha: „I attend to her because she is my iyá (mother), but in reality, no one knows much about her or how to treat her.“

Yewá, on the other hand, unlike Oyá and Obba, in Cuba, appears to have no domain other than the cemetery itself, where she resides inside the tombs. Oyá guards the entrance, Obba surrounds the graves, and Yewá is inside them, even inside the coffins. This deity represents the final stage of the body, decomposition and the shedding of flesh. Yewá is the last step before the body integrates with Orisha Oko, the earth, representing the skeletal and entirely dehumanized state. Yewá is thus removed from human emotions and the noise of the world. Believers say that her father, Oddudúa, locked her in a tower from birth to prevent any man from seeing her beauty. Shangó, as part of a bet, managed to enter and violated her when she was still a child. Her father left her in the cemetery, where it is said she feeds on the dead.

These three orishas represent a continuum in the journey of the dead from one world to another, sharing several common elements. Firstly, all three have had some form of sexual relationship with Shangó, the deity of fire and lightning who greatly fears Ikú and the eggun. Shangó seems to embody vitality at its peak: he has a stormy relationship with Oyá, the threshold between this world and the next; he rejects Obba, who is already in the realm of spirits, while he only had one encounter with Yewá, just as the vital breath was once in the body now beginning to decay.

Secondly, like the eggun, all three orishas use masks. These masks symbolize that they are already beyond the human realm and need a form of mediation to connect with the world on this side. The masks represent the mystery beyond death and dehumanization, something we cannot comprehend while alive. The masks make them appear like us, but their existence and the need to wear them reveal that they are no longer like us. „If they have to wear masks, imagine what they are like. Some people think they are like us, but no, they can be very ugly, like monsters.“

Additionally, all three are associated with Fridays, which are considered days belonging to the world of the dead. Finally, they all have complicated relationships with Oshún, another of Shangó’s wives, symbolizing love and female fertility. „On the altar, any of the three ‚muerteras‘ you have should be placed far away from Oshún because they do not get along. Oshún represents life, the pleasure of women; the ‚muerteras‘ are on the other side and get annoyed with the laughter, flirtation, and dances of Yalodde.“

In Cuban Santería, as previously explored, Yewá is the most distant from the realm of the human among the „muerteras“ or death-related orishas. Euphemistically, her name derives from „yeyé awá,“ meaning „our mother,“ although she is considered a symbol of sterility. She is the true queen of the cemetery, governing it, the owner of its innermost depths, symbolizing the ultimate transformation of the human body. The cemetery is referred to as „ilé Yewá,“ Yewá’s house. She and Obba are daughters of Oddudúa, the mythical first king of Oyó, Ifé, and the Yorubas in general. Believers speculate that her origins are Egyptian or Saharan Arab (Aboy, 2016, p. 51). She is also referred to as the „dead elder“ or the first one to die, representing the mysteries and secrets of death. She is an „orisha fun fun,“ associated with solitude and androgyny.

According to Bolívar, „Oddudúa is the eye of the Divine Providence, present in the sun and everywhere, invisible because it burns the sight“ (Bolívar, 2017, p. 110). Therefore, Oddudúa is one of the highest entities in Osha, and one must maintain the utmost respect in his presence. Yewá commands a similar level of reverence. According to Natalia Bolívar, „In the presence of Yewá, no one can undress, engage in love affairs or disputes, or even speak loudly or behave rudely. Her servants are always old women, virgins, or sterile women“ (Bolívar, 2017, p. 305). This presence is associated with the articles commonly known as „soperas,“ where practitioners believe the ashe or spiritual power of the orisha resides. Her receptacle must always be kept separate from Oshún’s, the orisha of love and sexuality. The children of Yewá are forbidden from any sexual contact, and to pronounce her name, they must first touch the earth with their fingertips and bring them to their lips (Cabrera, 1993, p. 38).

In the coconut shell divination system, one of the „apere-ti“ (positions where the shell pieces can fall) is attributed to Yewá. According to Bolívar, this position is interpreted as: „It speaks of solitude, sadness, and death, of a tendency to become ill. This letter relates to depressive states. Try to avoid visiting cemeteries“ (2018, p. 54). In the diloggún system, Yewá speaks through the signs Iroso, Osá, and Ofún.

Yewá is sometimes depicted as an elderly, chaste, delicate, perfectionist, severe, and very wise figure, and her oracles are highly respected. At other times, she is portrayed as a child, represented with an infantile skeleton or owl bones, as she is said to emerge at night like an owl. Often, the remains of the bird are preferred because it is considered ethically troubling to violate the grave of a child and steal her bones. Imagine this: First, you have to bribe the gravedigger and go to the cemetery at night. You should already have the grave located: open it, take out the coffin, and quickly, take the little girl’s bones. But when the family finds out, how will they react? It must be very sad that, on top of losing someone, their little bones are also stolen. Fortunately, not many people have to do this, because it must be very tough. Such actions help explain why the children of Yewá are often described as sad and bitter.

Yewá often presents herself paradoxically: pure and beautiful during the day, frightening and somber at night (Fitzpatrick, 2009). Her primary color is pink, associated exclusively with her and Obba in Santería, considered the color of delicacy and death. She dresses in pink, and her necklaces are pink, although sometimes she is also associated with coral, red, and lilac. Maiden goats are sacrificed to her; even the animals offered to her must have had no sexual contact. Yewá punishes with tuberculosis and extreme thinness, a condition known as „consunción.“ Her punishment gradually consumes the body, emaciating it until it becomes skeletal, making it a part of her realm while still alive. In Catholicism, she is syncretized with Our Lady of the Forsaken, Our Lady of Monserrat, the Virgin of Sorrows, and Saint Clare of Assisi.

Yewá is believed to have a Dahomey origin. According to the Ifá system, Yewá is born under Ogbe Fun, a sign where Eruba (fear), Okunmolorun (stupor), death is crowned, and Eyo (tragedy) becomes a king. In Irete Unfa, it is mentioned that she once wanted to destroy the world, but no further details are provided. Yewá is considered related to Olokun, who is also believed to desire the world’s destruction. Some stories even suggest that she resides with Olokun in the sea. In Ojuani Shogbe, it is Olokun who gives masks to both Oyá and Yewá.

Yewá and the Myths

In the Yorubá spiritual tradition, we delve into the „patakís“ – mythological stories – of Ifá, which revolve around the enigmatic deity Yewá. Yewá’s narrative is a tapestry woven with threads of water, other water-related deities, children, and sexuality. These stories, presented here in their original form with slight edits for clarity, allow us to explore the profound depths of Yewá’s presence within the spiritual realm.

In the Yorubá tradition, „patakís“ are powerful narratives that convey deep spiritual lessons through mythological stories. Yewá, a deity of particular importance, is the focal point of our exploration. These tales offer a unique perspective on Yewá’s nature and her connection to various elements, including water, water-related deities, children, and sexuality. Let’s examine these stories in detail, with the goal of making them accessible to followers and adepts of Yorubá philosophy.

1. Yewá’s Abode by the Lagoon

In these narratives, Yewá is often situated near a lagoon, a departure from the more commonly held belief in Santería, where Yewá is closely associated with the cemetery. This distinction is significant as it harks back to the Yorubá belief that the souls of the deceased return to the water, particularly the sea. Some accounts even place Yewá living alongside Olokun, Olosa’s partner, within the ocean. Although this belief may have waned in Cuba, it persists in Haitian Vodou. These „patakís“ of Yewá preserve traces of the original Yorubá belief that the final resting place for the departed is not the cemetery but the sea, which is perceived as a vast and sacred cemetery for souls.

2. Yewá’s Feminine Cult

Yewá’s cult is characterized by extreme femininity and is exclusively reserved for women who must maintain their chastity, reminiscent of vestal virgins. Men who approach Yewá are symbolically feminized, emphasizing the complex gender dynamics within her domain.

3. Yewá and Miscarriages

In „Otura Adakoy,“ we encounter the story of Iyami Oshorounga, an „omologu iyami“ (witch) and Yewá’s sister, along with Olokun. This suggests a familial connection among these deities. Iyami Oshorounga transformed into an „eiye oru“ (night bird) at night, flying from „ilé Yewá“ (the cemetery) to „ilé Olokun“ (the sea). Her haunting song caused women to miscarry, and Yewá’s family fed on the fetuses.

4. Yewá and Abortion

In „Iroso Unkuemi,“ the connection between Yewá and miscarriages becomes explicit as she is depicted as the first to perform an abortion. Yewá, the daughter of Oddudúa, lived in captivity in a cave connected to the sea, guarded by Bromú and Brosia. Their forbidden romance led to Yewá’s pregnancy, and they turned to Ozain for help. The fetus was expelled after Yewá drank a special potion prepared by Ozain. This tragic event led to the child, Agboni, being named Elegba by Oddudúa.

5. Yewá’s Children

In „Otura Mun,“ we learn about Yewá’s other children, Omi Logun and Omitogun, who secretly sought nourishment from Yemayá’s house. Yewá had her own hidden source of sustenance in the form of „gungun de eggun“ (bones of the deceased) concealed among the roots of the „ope mariwo,“ a palm kana tree. However, when her children accidentally disturbed her garments by the riverbank, Yewá revealed her secret.

Throughout these narratives, the intimate relationship between Yewá and Yemayá is evident, with Yemayá being the only one authorized to witness Yewá’s secrets. Yemayá also has her own connection to funerals, marking the end of each person’s existence. The deceased eventually becomes part of Orisha Oko, the earth itself, while their spiritual essence returns to the sea, within Yemayá’s bosom, completing the cycle of life and death.

Yewá and Syncretism

In both Cuban and Brazilian syncretic religious traditions, Yewá is associated with a blend of various African, indigenous, and Christian elements. Yewá is not as prominent or widely worshiped as some other Orishas like Oshun or Yemaya, and her syncretism varies depending on the specific region and religious practice. Here is an overview of the syncretism of Yewá in Cuban and Brazilian contexts:

Cuban Syncretism

In Cuban Santería, which is a syncretic religion that combines Yoruba beliefs with Catholicism, Yewá is not as well-known or widely venerated as some of the more prominent Orishas. As a result, Yewá’s syncretism with Catholic saints is not as firmly established as with other Orishas. However, some practitioners associate her with various Catholic figures based on local interpretations and traditions.

One common syncretic association for Yewá in Cuba is with the Virgin of Regla (Virgen de Regla). This syncretism draws parallels between Yewá’s association with waters and the sea and the Virgin of Regla, who is considered the protector of sailors and fishermen. In some representations, Yewá may be syncretized with other Catholic figures, depending on regional variations and individual practices.

Brazilian Syncretism

In Brazilian Candomblé, which is another Afro-Brazilian syncretic religion with Yoruba roots, Yewá is often syncretized with the Catholic saint Saint Clare of Assisi (Santa Clara de Assis). This syncretism is primarily found in the Bahia region of Brazil, where Candomblé is prevalent. Saint Clare is associated with purity and is sometimes referred to as the „Clear One“ (Clara), which aligns with Yewá’s themes of duality and transformation.

In Bahia, Yewá is known as „IYewá“ and is venerated alongside other Orishas in Candomblé ceremonies. The syncretic association with Saint Clare is significant in this region, and her feast day is celebrated alongside Yewá’s rituals, often with processions and offerings.

ASPECTS AND QUALITIES OF YEWA (ARCHETYPES)

In Brazil, only a few qualities of Yewá or Yewá are prominently cultivated. Research revealed some qualities that, at least in my review, did not match those in Cuba (although the archetype of Yewá is interpreted and worshipped similarly).

Yewá Awô – The mistress of everything mysterious and hidden (occult). This is the Yewá from the Jogo de Búzios oracle. She wears pink and ornaments made of raffia straw with cowries. Related/Associated Orixás: Oyá, Odé, and Ossaim.

Yewá Bamiô – Associated with gemstones and precious stones. She owns the colors. She uses Fios-de-Conta with many different colors. Related/Associated Orixá: Ossaim.

Yewá Fagemy – Yewá connected to crystalline and enchanted rivers. She is associated with the rainbow that forms in waterfalls. Transparent fabrics in various shades and colored crystal beads are used. Related/Associated Orixás: Oshumaré, Oxum, Ayrá, and Oxalá.

Yewá Gebeuyin – This is the original Yewá. She is associated with rain and mist. Mistress of the hidden, occult, and transformation. She is the mythical wife of Omolu. She wears wonderful red and yellow beads. Related/Associated Orixás: Oshumaré, Omolu, Oyá, Oxum, Nanã.

Yewá Gyran – She is the mistress of sun rays. She is associated with the outlines of the rainbow and the double rainbow. She wears white clothing and uses crystals on her Fio-de-Conta. Related/Associated Orixás: Oxum, Oxum, Omolu, and Oxalá.

Yewá Salamim – She is the youngest and most agile Yewá; she is a huntress. She is associated with virgin and untouched forests. She is also one of the mistresses of the moon and its phases. She wears clothing with hunting motifs, carries an Ofá (arrow and bow), and silver accessories. Associated Orixás: Odé (Hunter, Oxóssi, and others) and Yemanjá.

From Cuba, the following designations are known, among others:

  1. Binoyé
  2. Ibu Adeli – Odobi
  3. Ibu Osado
  4. Ibu Ayerika Oyorikan
  5. Ibu Akanakan
  6. Ibu Shaba
  7. Towosí. She is an Orisha. She is Yewá in the land of Arará. She is also chaste, very strict, and oversees the worship of Nexubue (abnormal women of royal origin). Although she is a deity that resides in rivers and is closely related to the Bodun Ilá, she also lives in the wilderness and is fond of oil palm groves. Her shrine is in a vessel lined with raffia and colored with Osun. Her mission is terrifying, which is why she wears a mask that is almost identical to the Gelede mask. Towosí eats virgin goat, goose, chicken leg, and dove (offerings). Her shrine contains nine Ota (stones), shells, and two hands of cowries; the number 9 is representative. She lives outside, she lives in the shells of the sea. Yèwá means „our mother“ (Yeyé: mother – Awá: our). The term Ibu probably means „house,“ „place.“

In Cuba, she is said to be the daughter of Obatala and Oduduwa, the sister of Oyá and Obá, and the companion of Babalú Ayé (the overarching term for Omolu, Obaluaye). It is said that Yewá had a relationship with Obatala Oshagriñan. However, she is still considered chaste, a virgin, the mistress of cemeteries, and closely connected to death.

CHARACTERISTIC OF INITIATED CHILDREN IN ORISHÁ YEWA

Children of Yewá are usually elegant, good-looking, delicate, sensitive, and cultured. They are mostly women who are initiated into Yewá. They are brave and warlike, very beautiful and conquerors. They know what they want and go to the end to achieve it. They are helpful, empathetic, and do not wear their hearts on their sleeves.

They are highly educated, dignified, have good taste, and do not engage in base or vulgar things. Despite this cultivation, they are considered rebellious and complicated in their relationships due to their moral requirements and expectations of ethical and social behavior from others. They do not tolerate falsehood, lies, and hypocrisy. They also do not accept any distortions in the way men and women relate to each other, as they are usually faithful in love and do everything to maintain stable relationships. They tend toward moralism.

They are people of exotic beauty and stand out from others precisely because of this. They tend to be ambivalent: sometimes they can be very sympathetic, sometimes extremely arrogant; at times, they may appear very old, while at other times, young, naive, and pure. They love wealth, enjoy showing it off, like beautiful and stately clothing, and always follow fashion trends. They love praise and flattery.

They are easily influenced people who adapt to their environment and the people around them. They can be reserved ladies of high society when needed or become popular, talkative, and cheerful women in a rustic setting. They are lively and attentive, but their attention is focused on specific people or situations, which makes them detach from everything else. This leads to a certain absent-mindedness and lack of concentration.

They always strive to stay informed and keep their ear to the ground by studying and conducting research, often making them intellectuals. They love solitude and meditation, preferring to observe rather than be observed. Even in the midst of a crowd, surrounded by people, they manage to remain calm.

Yewá’s followers must lead a peaceful and pure life and renounce certain things. They are extremely religious and sensitive, achieving a high level of clairvoyance and sensitivity, a gift they should always use to help others and accurately assess situations.

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