Orisha/Ifa singing, drumming and practice. Study and way of life of ancient spirituality. Community activism, I consider myself a 100% revolutionary! Quality time with my elders, children and family.
The study of ancient priesthoods, spirituality and culture. All types of music. Studies of my Isla de Borinquien.
Oluwo, Babalawo, Olu Ayan, Omo Ayan, Olorisha, Yaya/Tata Mayombe, Espiritistas, Boricuas, Cubanos, Haitianos (all other "...anos", LOL), and anyone interested in our roots, spirituality, culture and music. Priests of all practices.
Bata, Guiro/Bembe, Palo Mayombe, Cajon de Muerto, Arara, Reggae, Salsa Vieja (60's and 70's), la Bomba y Plena de Puerto Rico, Rumba, Reggaeton, the Dirty South, R&B, Rap and anything that sounds good! Lazaro Ros, AfroCuba, Afro Boricua, Felipe Alfonzo, Calle 13, Julio Voltio, Los Orishas, Ismael Rivera, Ismael Miranda, Zap Mama, Outcast, Grupo Cuero y Cajon, Sonora Poncena, Scarface, Ray Barretto, Cee Lo, Celia Cruz, Bun B, Young Jeezy, Los Munequitos...
Bobi Cespedes (my Madrina)*
Cajon de Muerto*
Ilu Ayan, Fundamento
The sacred Bata drums are the body of Ayan, similar to what the "sopera" is to the other Orisha. Ayan is a female Orisha who is able to speak the language of Egun, Orisha and Olodumare; A sound known as "oro", the manipulation of sound and vibration. The shasha (small head) is the "butt" while the large head (Enu) is said to be the "mouth". The Ashe released by this Orisha is extremely powerful. The drums are not played by or danced to by those who have not been initiated or presented to her Ashe/power. Ilu Ayan are draped, when in public, with beaded Bante drapery and are only touched directly by Omo Ayan. They are fed blood, like Orisha, and are not played by women due to the menstrual cycle. Another tool of invocation is the Shaworo. These are two belts of bells placed around each head of the Iya (largest) drum. They sound when hit or shaken. The Bata, along with the Shaworo, Ashere (rattle), Agogo (bell), Akpwon (lead singer) and Ankori (coro) are said to bring Orisha to mount initiates to take part in our Bembe celebrations. Olu Ayan (keepers of Ayan Bata) are usually Olu Osain and usually well versed in the secrets of herbal potency.
Fundamento Anya drums belonging to my Baba, Alfredo "Koyude" (singing in a White shirt):
Bata Drums/Ilu Ayan "in action" (Toque: Titi Laro & Meta: Shango)
Pa que todos sepan, yo si soy Boricua. Sangre Taina, Africana, Espanola y Gitana. Llevo la musica Kongo, La Bomba, en mi sangre y la quiero mucho. Ashe! a todos los esclavos que vinieron a fuerza y bofeta al Caribe sin dejar el fundamento Africano en Africa. A todos mis Egun Ona Bomba (con camino de Bomba) Iba Ye, Ba Yen To Nu!
Saludos a mi Borinquien (Bomba Mayaguezana)
Cajon De Muerto en Viejo Habana
Music & Culture:
Raices, Kabiosile I&II, Sankofa, Ogun Eternal, calle 54, Cuero y Cajon
Comedy:
Fear of a Black Hat, Nacho Libre, Blades of Glory, Naked Gun, Airplane, Space Balls, Joe Dirt, Napoleon Dynamite
I hate "the box"
El Monte (Lydia Cabrera), Eshu Arts in the Americas and Orin Orisha (John Mason), Olodumare (Idowu), Meter Neter, Book of the Dead
Each and every one of us needs to study our history. How will you know where you're going, if you do not know where you're from.
Juan Vega (My Grandfather), Aseda, Akoda, "Akpwon" Felipe Alfonso, "Olu Ayan" Akilakpa, X Clan, Kalid Mohamad, Malcolm X, "Olu Ayan" Regino Jimenez, Eshu Bi, my mother Judith Vega, my Madrina, Babalawo, Obas and Alagba Lagba!
Thank you, to all who have guided me in understanding the secrets and have given me authority as a keeper of the secrets. Thank you, to all Kings and Queens of our ancient kingdoms!
Those who keep me in harmony with all that exists. To all messengers and profits who have descended to teach and guide me. To my teachers who have initiated me into the sacred "Mystery Schools"