Iya mi Oba.
Probably one of the most misunderstood Orisa is Oba, until you receive her. Then you wonder how you survived at all without her. She is sometimes known as a woman’s Orisa, however, Oba helps all who need and respect her. No one should be abused—female or male.
Oba frowns on parasitic relationships, even when we are the parasite. She advocates love, independence and respect within relationships. When I received Oba, I felt another backbone being constructed in my intellectual and emotional well-being.
Oba has many attributes. Among them is her ability for quick, up close work, which is why she carries a dagger. She is commerce and navigation. She is the writer. One of her responsibilities is writing the names of the dead in her book.
This post highlights my interpretation of a book for Oba.
Probably one of the most misunderstood Orisa is Oba, until you receive her. Then you wonder how you survived at all without her. She is sometimes known as a woman’s Orisa, however, Oba helps all who need and respect her. No one should be abused—female or male.
Oba frowns on parasitic relationships, even when we are the parasite. She advocates love, independence and respect within relationships. When I received Oba, I felt another backbone being constructed in my intellectual and emotional well-being.
Oba has many attributes. Among them is her ability for quick, up close work, which is why she carries a dagger. She is commerce and navigation. She is the writer. One of her responsibilities is writing the names of the dead in her book.
This post highlights my interpretation of a book for Oba.
I used what is known as a blank journal format to construct Oba’s Book. The base fabric is muslin. It is a hearty cloth and can be easily dyed or painted. I used a combination of paints and hues that mimic the colors given to me in Oba's ileke.
There are three signatures inside to create 12 pages. I tea-dyed the inside signatures because I wanted the pages to reference a soft, antique look. The pages (signatures) are machine stitched horizontally to give the appearance of lines on a page and then machine zig-zagged stitched around the edges.
There are three signatures inside to create 12 pages. I tea-dyed the inside signatures because I wanted the pages to reference a soft, antique look. The pages (signatures) are machine stitched horizontally to give the appearance of lines on a page and then machine zig-zagged stitched around the edges.
The inside front and back tea-dyed covers are further painted/embellished by pressing the fabric onto paint remaining on the plastic I used to cover my table. I then machine embroidered the inside with “Oba’s Book.”
The book's front and back covers are hand painted using acrylic and fabric paints. The front cover is embellished with beads, sequins and Oba’s “key” to the world.
The front cover also includes a quill to be used as her writing instrument. The entire front and back covers are then machine stitched using free-motion wandering called stippling. I used Oba’s ileke colors to densely bead the book’s front and back cover edges.
The front cover also includes a quill to be used as her writing instrument. The entire front and back covers are then machine stitched using free-motion wandering called stippling. I used Oba’s ileke colors to densely bead the book’s front and back cover edges.
I love making throne art as tools for my Òrìsà. As with commissions, this kind of creativity gives me the opportunity to carefully research Òrìsà’s nature, qualities and effects. Long after I am gone Oba's Book will survive. Godchildren will say, “This Book was created by Iya Ala Ofun. It sat with her Oba." This is legacy.
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