Songs that name each orisha, from the folkloric recordings of the 1940s to timba. Each entry says where the information comes from.
Inspiration, not ritual. On the dance floor you borrow the character of each orisha's dance, not the fiesta dance itself.
In the break, let go of your partner and mark a change of direction with a quick spin on one foot. Back to casino on the chorus.
On the chorus “aguanilé mai mai”, quote the machete cut from the Aguaniyeo.
Take the hip sway and the arms for styling. Don't mime the honey or the mirror without context: this is “inspired by Ochún's dance”.
In the vocal and drum breaks (0:51, 1:29, 2:06, 2:43, 3:21) let go of your partner and do Changó's bounce: chest forward and a strong arm accent on the hit. Go back to casino on the chorus.
In the solos, waves of torso and arms with small steps and soft knees. If there's a skirt, work it as in Yakotá. It's inspired by Yemayá's dance, not the dance itself.
For styling, take the serene verticality and open arms of the Obatalá of peace, and hold back the tempo. Don't imitate the trembling old man out of context: this is “inspired by Obatalá's dance”.
Their songs are published with each orisha’s page, following the release calendar:
