The Yoruba day of the week dedicated to money and profit – theyoruba

via The Yoruba day of the week dedicated to money and profit – theyoruba.


The Yoruba Day Of The Week Dedicated To Money And Profit

The traditional Yoruba week has four  days  dedicated to the Orisa in the following order:

  • Day 1 is dedicated to Obatala
  • Day 2 is dedicated to Orunmila
  • Day 3 is dedicated to Ogun
  • Day 4 is dedicated to Sango

However, to be streamlined with the Gregorian calendar, Yoruba people also have a 7 day week which is for trade and business matters

The seven  Yoruba business days  of the week are:

  • Ojo-Aiku (Sunday),
  • Ojo-Aje (Monday),
  • Ojo-Ishegun (Tuesday),
  • Ojo-Riru (Wednesday),
  • Ojo-Bo (Thursday),
  • Ojo-Eti (Friday)
  • Ojo-Abameta (Saturday).

Yoruba Beliefs About Monday

Ojo Aje (Monday): This is the day on which money joined Orisa on earth and is known as the day of money. Yoruba people use this day to start business, and to discuss economic and financial programs.

Araba Elebuibon, Origin of Days

Meet a Babalawo

Source: Meet a Babalawo

We don’t remember medicine until we are ill.  It’s the same with our  Yoruba medicine , many  don’t remember traditional medicine until Western medicine fails them.  To be fair, there are just as many or maybe even more for whom native medicine is the first port of call for the simple reason that they cannot afford the cost of  Western medical care . But where there are means, the leaning is more towards Western medicine, until of course a problem is encountered that defies orthodox science.

Reasons why people use/don’t use traditional medicine vary,  experiences vary. So many have only praises and some have regrets on using Yoruba herbal science. Why the variations?  There’s  no published  directory of herbal practitioners, or widely acknowledged certification , so that there is  no way of ascertaining the qualifications of a practitioner before you decide to place yourself in their care. In the days gone by, presumably word of mouth recommendation was all the certification required, and that’s at the root of the problem experienced by  people who would  use Yoruba herbal practitioners today. Just how many people who do use traditional medicine will own up to the fact? How do you get a recommendation when visits to Babalawo are seen by the educateratti as hush-hush.



Back in Havana, as the man says “Chilling!” Thank you Caracas!

#YoSoy YorubaAndabo #YoSoyCuripaya #YoSoyCubano

#YoSoy YorubaAndabo #YoSoyCuripaya #YoSoyCubano

We went to Caracas, renewed and made new friendships, chanted and performed for our fans and supporters! The proof….!!!

A great big thank you to our fans and supporters who made this possible!


YORUBA ANDABO arrived in Caracas! YORUBA ANDABO llegó a Caracas!

Eventos PosterYorubaAndabo_PBEventos alba_cultural_americabanne-todos1

YORUBA ANDABO llegó a  Caracas (6 al 8 de noviembre)


Viernes 6/ VENETUR/Salón Anauco

Sábado 7/VENETUR/Salón Bicentenario

Domingo 8 /Teatro La Caridad

Producción PB Eventos/ Fondo Cultural del ALBA

YORUBA ANDABO arrived in Caracas (6 to 8 November)

Friday 6 / VENETUR / Lounge Anauco

Saturday 7 / VENETUR / Lounge Bicentennial

Sunday 8 / Teatro La Caridad

Production Events PB / ALBA Cultural Fund




Salón Anauco/VENETUR

Viernes 6 de noviembre, 10pm

Producción Fiver Star y PB Eventos



Hall Anauco / VENETUR

Friday, November 6, 10pm

Fiver Star and PB Eventos Productions




Salón Bicentenario/VENETUR

Sábado 7 de noviembre, 6pm

Producción PB Eventos


Afro-Cuban music and dance

Bicentennial Hall / VENETUR

Saturday, November 7, 6pm

PB Eventos Productions




Teatro Alameda

Domingo 3pm

Producción PB Eventos


Afro-Cuban music and dance

Alameda Theatre

Sunday 3pm

PB Eventos Productions




Teatro Alameda

Domingo 8pm

Producción PB Eventos



Alameda Theatre

Sunday 8pm

PB Eventos Productions



Final Avenida Lecuona.  Complejo Parque Central. Edificio Anauco.  Caracas 1010-A

Telf +58 212 573 4111

Comercial +58 212 573 7724


Final Avenida Lecuona. Central Park complex. Anauco building. Caracas 1010-A

Tel +58 212 573 4111

Commercial +58 212 573 7724

Historical tour of Yoruba Andabo in the U.S.A postponed to January 2016

PosterYAScreenshot 2015-11-01 23.49.31Screenshot 2015-11-01 23.49.11

Yoruba Andabo wishes to apologize to all its friends and public in the United States for postponing the tour scheduled for this November, for reasons beyond the control of the company, the involved institutions, and the organizers and promoters; The Yoruba Cuba Association, The Adinkra Group, and The Asase Yaa Cultural Arts Foundation.

A delay in the processing of our visas prevented us from bringing the best of our art to you. We regret any inconvenience caused.

All of the involved parties are working very hard to schedule the presentations and workshops for January 2016 and to fulfill our commitment established with the people of the United States.

We are very grateful for your understanding and never ending support, and we await you without fail in January.

Respectfully yours

Geovanni Del Pino – General Director

Jose Luis Lobato – Manager and Producer


Yoruba Andabo desea pedir disculpas a todos sus amigos y público en los Estados Unidos para posponer la gira prevista para este mes de noviembre, por razones ajenas a la voluntad de la empresa, las instituciones involucradas, y los organizadores y promotores; La Asociación Yoruba Cuba, El Grupo Adinkra y La Fundación Cultural Arts Asase Yaa.

Un retraso en la tramitación de los visados nos impidió traer lo mejor de nuestro arte para usted. Lamentamos cualquier inconveniente causado.

Todas las partes involucradas están trabajando muy duro para programar las presentaciones y talleres para enero de 2016 y para cumplir con nuestro compromiso establecido con el pueblo de los Estados Unidos.

Estamos muy agradecidos por su comprensión y apoyo sin fin, y les esperamos sin falta en enero.

Respetuosamente tuyo

Geovanni Del Pino – Director General

José Luis Lobato – Director y Productor

SAT 10/31 | Yoruba Andabo (Rumba) at Old Town School of Folk Music


World Fusion Chicago

Rumba is Cuban and without Cuba, there is no Rumba. As simple as that! Come and enjoy the rumba experience with Yoruba Andabo!
“The possibility of experiencing a night with Yoruba Andabo was a unique one.Unique since one can witness an incredible reunion between something sacred,mystic and an atavistic and inborn sense of partying. The audience was transported to a separate world, a world of intense colors, of full joy and beauty.If the roots are, undoubtedly African and ancient, the charm of today’s musicisan authentic wonder…”

The Yoruba Andabo Company was born on the piers of the port of Havana in 1961 when a group of laborers would get together for parties and artistic events through their union. They gave rise to the Guaguanco Marítimo Portuario, a group which, in 1985, began their professional career with the name Yoruba Andabo. From that time forward, they have offered their art as…

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Yoruba Andabo with Coffee and Panela be presented at the Teresa Carreno | Correo del Orinoco

cropped-cdyorubacallejon.jpgEste importante encuentro e intercambio entre sonidos afrocaribeños es promovido por el Ministerio del Poder Popular para la Cultura, la Fundación Teatro Teresa Carreño, el Fondo Cultural del Alba y la Embajada de Cuba

Source: Yoruba Andabo with Coffee and Panela be presented at the Teresa Carreno | Correo del Orinoco

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Origin of Rumba- Courtesy of and by Sonny Watson (


Uploaded by #guarachon63

Origins of the word Rumba (Room-Bah) was a generic term used to describe a music style rather than a dance style. The Ballroom Rhumba that is danced today is not really the “Rumba of Cuba.” The Ballroom Rhumba of today is really an offshoot of the “Son” (slower) or “Danzon” (even slower)” done in Cuba, a much slower and polite version of the true, sexually “frantic” (& FAST) Rumba and also can be considered Afro-cuban. The “Son” was a popular middle class Cuban dance which is a modified version of the Rumba … and the danzon’ is even a slower version than the Son.

    Originally, it is said that the real Rumba came to Cuba through the African Slaves (Afro-cuban) imported from Spain into that country over two hundred years ago. Cuba eventually banned the dance as being too wild to dance in public. Eventually the law was forgotten about and some people started dancing it which helped people become more aware of the dance during the 1920’s and by 1925 President Machado put the ban back into effect, his decree stated: “this class of music (referring to African music) and the ‘rumba’ are contrary to the good custom and public order of Cuba.” However it was reported that the upper classes in Cuba did not dance the Rumba anyway, as it was to wild and frantic.

   The Son is played in two parts (chorus and verse) while the Son dancers only dance to the chorus. The Claves (instrument) create the mood of the dance. However, it may have been originally a Pantomimic dance of Africa that found its way to Cuba (Afro-Cuban.) The son as a music began to take shape in the latter half of the 19th century in Cuba’s Orient province, and gave birth to several hybrids including the afro-son, guajira-son, son-pregón and son-montuno. The son is perhaps the most important form at the root of today’s popular salsa music. After a period of change and development here in the States, the Son evolved into a popular sensual couples dance known today as the “Rumba.”

Uploaded by #guarachon63

“From “La Rumba” (1978, dir Oscar Valdés)
Interview with Saldiguera & Florencio Street, Columbia performance by the Port of Cardenas, featuring dancer Machaco.”

  Today there are three distinct styles of rumba done in Cuba with the dance primarily being danced as a freestyle or solo (non-lead and follow) dance. The first being called the “Guaguancó,” which is a seduction between the man and woman whereas he can try to get carnal and “attack” her. The second is the “Yambú” which has a flirty woman dancing with a older man (man can be young too) who cannot get carnal or “attack” her and finally the more polite “Columbia” which is more the traditional “Rooster and Hen” dance where the male struts his masculinity around and about the female.” The early Cuban Rumba can at times look like Cha-Cha and Mambo.

Lew Quinn and Joan Sawyer are said to have tried the first real attempt at introducing the Rumba to Americans as far back as 1913, followed by Emil Coleman in 1923 and by Benito Collada in 1925 at a club called “El Chico” in Greenwich Village. In 1929 a small interest was growing in Latin-American music and in 1930 a Nuevos Ritmo (new rhythm) song called “The Peanut Vendor” by Don Azpiazu’s Havana Casino Orchestra was released which became a hit as a new DANCE to American dance forms.

By the 1930’s all of America had become knowledgeable of Latin music and the Rumba. The “American Rumba” of today as written about earlier is a version of the son that Quinn and Sawyer tried to introduce years ago. Today it is known as a “Latin-Ballroom” couples dance (lead and follow) and correctly titled the Dance Of Romance.” The American and International styled Rumba’s can be a very beautiful dance when done by a polished couple.

   Many of the erotic movements of the Ballroom Rumba stemmed from the original dancers of Cuba doing the tasks of the day such as “Shoeing the Mare,” “Doin’ the Laundry/Dishes,” “Climbing a Rope,” or the “Courtship of Barnyard Fowls.” The costumes that many performers originally wore, represented this in the woman’s long ruffled train of her skirt (hens feathers) or the mans ruffled shirt sleeves and or chest which represents the cocks hackle feathers. Today’s latin costumes look more like Lingerie. The Ballroom Rumba is a nice dance for dancers to showcase their technique ability and a polite sensuousness and romantic flair on a dance floor, whereas the Cuban rumba is more a rhythmic street dance and can appear to be of a cool, yet hectic and sometimes wild abandon with the technique more about the rhythm, roots and soul of the dance, rather than being a commercially pretty dance form.

    The Jamaican Mento dance closely resembles the Rumba. The Rumba was replaced in popularity by the Mambo, and later the Cha-Cha. The Rumba is sometimes spelt as Rhumba and Roomba.

   Also a new dance (c.1975) called the Night Club-Two Step (NC-2) was originally known as “Disco Two Step” (ala Buddy Schwimmer) is a modern semi-version of the Rumba, (a few say samba), it is done to modern slow music by pop artists such as Madonna, etc. NC-2 is mainly done in the West Coast Swing and Country Western communities.


Yoruba Andabo en el Teatro Artime en Miami! Corre la noticia!


Courtesy of Prensa Latina

Founded in 1961, Yoruba Andabo enjoys a special rapport on and off the island, as is a true example of authenticity and versatility to take on folk and popular traditions, from the great diversity of Cuban culture.

With a hallmark, the cast grown dissimilar genres that make up the African roots on the island as the Congo, Yoruba, Abakuá and called Rumba complex, with its traditional rhythms, especially yambú cycles, guaguancó and columbia, creating contemporary sounds and voices.