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                        ON EXU. CLIFFORD LOW &CAROL DOW
   
Clifford Low's Commentary

   One of my relatively recent fascinations is that of the darker aspects
   of the Yoruba based religions, such as Voudon, Hoodoo, Santeria,
   Candomble, Macumba, Quimbanda, and Umbanda. My interests began when I
   noticed some links between descriptions of depictions of highly
   diabolic mountain spirits revered by South American miners and the
   generally furtive descriptions of Santeria's darker Orishas. For those
   unfamiliar with Santeria, it is preoccupied with the worship of divine
   African beings known as Orishas, which are often depicted (for
   convenience) as christian saints. One of the darker beings, Eleggua (a
   dark messenger), is connected with Exu, (Ey-shoo), an Orisha depicted
   as Satan; ruling over vengeance, lust and money. Exu is worshipped in,
   in some traditions (as pictured below), by offerings of miniature iron
   pitchforks placed in vases of blood before a devil statuette.
   
   What interested me most of all about Exu, is the fact that Santeros
   specialize in a particular Orisha, teaching a compatible student for
   decades, when they become a like specialist. Santeria is a few hundred
   years old, though it's roots go much farther, suggesting an
   undocumented and largely undiluted lineage of Satan oriented black
   magicians exists as a semi accepted part of Santeria. This is
   exceptional, when the fact of the weight of the Christian elements of
   Santeria is taken into account- a Christian would never accept a
   Satanist as one of his/her own, but apparently Santeria does for it's
   equivalent. Upon further research, Exu specialists appear to be the
   most reclusive faction of the religion, and few if any exist outside
   of Puerto Rico.
   
   This appeared to be a bit of a dead end, since Santeria is an
   extremely xenophobic religion, and I don't have the genes to overcome
   that. A seemingly random occurence informed me that the other Yoruba
   based religions also revered Exu to varying degrees. The
   Brazilian-Yoruba religions have been very poorly documented, and then
   almost entirely for the anthropological community. It is within these
   religions which Exu worship is open and popular, and due (ironically)
   to the undeniable influence of Ceremonial Magick upon these
   traditions, has allowed an earthy philosophy reminiscent of some forms
   of American Satanism to flourish and parallel it at key points.
   
   The characteristics of Exu and his female equivalent (or consort)
   Pomba Gira, reflects the weird patchwork many of the Brazilian groups
   stem from. Of course, Yoruban influence is prime, but undeniable
   influences have been Spiritualism, Theosophy, and Goetia. Umbanda in
   particular has a complicated heirarchy of enlightened masters/orishas
   who are also angels and demons. Summoning, invocation, and possession
   are each induced via ritual in worship. The attitude Umbanda has
   towards it's demons (&quotexus") is one of cautious respect, much like
   an association with a generous mafioso. I suspect this type of
   perspective on demons parallels attitudes towards demons medieval folk
   may have had, and helped create the climate during which the Lemegeton
   was written. There is a distinction between Orishas and Exus, but the
   line is hazy and varys between sect.
   
   The article which had attracted my attention was a caption in a
   colorful photo-rich book on Mardis Gras and Rio. In the picture was an
   idol of Pomba Gira, a dark skinned voluptuous woman with horns,
   wearing tacky furs and sequins, heavy gold necklaces (nipples peering
   quite perkily from underneath), and a massive six pointed star as a
   pendant. She was described as the consort of Exu, and associated with
   the Whore of Babylon- but actively worshipped and represented during
   celebration, rather than hated or lampooned (what an idea!)
   
   I had come close to giving up on finding material on Exu and Pomba
   Gira, when I found a translation of a ritual treatise &quotPomba-Gira"
   in Morrigan's Magick here in NYC. Here is an excerpt from the
   introduction (which is by the translator, Carol Dow, though the book
   is by Teixeira Neto.) The remainder of the book is sectioned off into
   ritual instructions for bribing various aspects of Pomba-Gira into
   service, and reads like a crossbreed between Henri Gamache and a
   medieval grimoire.
   
   
Who Is Exu? (by Carol Dow)

   Before any of these activities can take place, the initiates scratch
   invocational markings in the earth with a certain kind of chalk that
   includes pulverized herbs, and is sometimes imported from Africa, and
   present an offering, which may include a sacrificed black rooster,
   sugar cane liquor, lighted cigarettes and candles. They tender the
   offering to Exu, the male aspect of the Pomba-Gira. For it is believed
   that without calling upon Exu, the ceremony cannot take place.
   
   This mysterious entity, who seems the pivotal figure around which
   Brazilian popular religion turns, is seen everywhere, from the niche
   outside the entrance to the terreiro, to effigies propped up at
   intersections, or displayed in prominent positions in the front
   windows of casas de santo, the stores where articles for rituals and
   spells are sold. Always painted red and black, sometimes sprouting
   horns from his head and an erected phallus, or if a Pomba-Gira, with
   breasts exposed, these statues leer brazenly at passersby. The male
   images occasionally are decked out in top hats and capes, or carry
   tridents, the females some times are dressed in billowing gypsy skirts
   and heavy jewelry. They look like representations of the Devil and his
   mistress, and some say they are. The word shu, from which the name
   derives, in the African language called Ioruba, means &quotdarkness."
   
   Since Umbandists believe that all that exists arises from the
   interaction of two opposite forces, they maintain that these forces
   permeate everything. Thus, when dealing with Exu, they conceive of two
   divisions, the male Exu, and the female Pomba-Gira, or Exu Woman.
   Innumerable Exus and Pombas-Giras exist because each represents a
   distinctive aspect of the entity's potency. Specific information about
   the significance and abilities of the Pombas-Giras constitute the main
   theme of Neto's book.
   
   At first, it is difficult to decipher what Exu really represents.
   Perhaps this is because of Umbandists' belief in secrecy and penchant
   for obscuring meaning beneath multilayers of symbolism. Some believers
   will tell you that the Exus have no morality, that they work equally
   for good or evil, that they are the servants of the orixas, and do
   their dirty work for them. Others are convinced that the notion of
   servitude reflects the master/slave social structure. They hold that
   by calling the Exus servants, the practitioners really mean that the
   Exus have no use for the orixas, which they consider as symbols of the
   oppressor, since they are syncretized with the Roman Catholic saints.
   Still others maintain that Exu is the intermediary between the gods
   and humankind, the messenger of both good and evil.
   
   So at the beginning of a ceremony, the faithful offer to him first so
   that he will not disrupt the proceedings, and furthermore will carry
   their petitions to the gods. It is believed that if one sacrifices to
   him well, he will be fairly disposed to plead human causes before the
   gods.
   
   On a deeper level, the fact that Exu is this universal agent of magic
   implies much more. Exu is the point of communication between the
   sacred and the profane, and as such, can be likened to the Greek god,
   Hermes, also known as Mercury (Roman), Thoth (Egyptian), and Odin
   (Norse). He intercedes between the people and what they consider to be
   their spiritual roots-an idealized Africa, or another dimension of the
   cosmos.
   
   Exu is also the symbol of equilibrium-the axis of stability between
   humans and gods. Contrastingly, as the embodiment of equilibrium, by
   nature he is always in motion. One can liken him to a runner on a
   rocky road-always in danger of falling from one side to another, but
   completely steady at the point where both feet leave the ground and
   travel through the air. Although his behavior sometimes may seem
   vulgar, his essence is dextrous and clever.
   
   In this role, many perceive him as a prankster-a kind of Brazilian
   Loki, the mischief-maker of Nordic myth. But his tricks are playful,
   not mean. He toys with human sensibilities and upsets the status quo
   because he represents the necessary power of disorder which must occur
   occasionally for one to be able rebuild on more solid ground. In this
   sense, he is comparable to the Tarot card, the Tower.
   
   An expression in Portuguese that cogently translates this concept is
   grau de sandice, &quotgrain of insanity." Exu represents the kernel of
   madness that sparks all creativity. He embodies physical, mental, and
   spiritual fertility because he typifies the creative impulse. Thus he
   often is depicted with sexual organs exposed and aroused.
   
   The priestess in Serge Bramly's book on Macumba (Macumba: The
   Teachings of Maria-Jose, Mother of the Gods, New York, St. Martin's
   Press, 1977, pp. 195-96), aptly sums up the point:
   
   "People weren't made to be machines. Part of us is madness, a
   necessary madness Exu is the master of-this is the most creative part
   of us. It is the space of our evolution. Without Exu what would our
   lives be? Nothing but a monotonous repetition of passionless acts."
   
   This is why Exu performs everything in reverse, and why his
   worshippers often ask him to do the opposite of what they desire. Exu
   teaches that blind obedience to authority or to whatever the
   established order of things may be is wrong, and that ritual often
   obscures meaning. He reminds his congregation that they should always
   be ready to reinterpret reality from a fresh point of view, or else a
   situation can stagnate.
   
   Exu's dwelling is at the crossroads, which symbolizes his aspect as
   the great communicator and expander of horizons. He stirs up action.
   The crossroads are where people and ideas meet, pass, and are
   exchanged. Things happen at crossroads: spaces open up and close down;
   new directions are taken. Thus, Exu is known as the ruler of
   intelligence, sagacity, and wisdom. For deep down, his precinct is the
   ground. He guards the sacred, fathomless well of knowledge, and as
   such, is often likened to St. Peter.
   
   Because he is omniscient, he is privy to the mysteries of life and
   death. Thus, he also presides over the buzios, a form of divination
   that uses cowrie shells. The three prongs of the trident he carries
   symbolize past, present, future; positive, negative, neutral.
   
   He also is linked with Omulu and Ogum, because he is familiar with all
   life's secrets, including those of pestilence, disease and death, and
   how to make and use weapons, which are often agents of death.
   
   In a broader sense, Exu is perceived as the interlocutor of the gods
   because although he may associate with them, he is not one of them.
   Each orixa works within a specific domain, but Exu is at home in all
   their abodes, and moves freely among them. Expressed from another
   point of view, each orixa embodies one or another of Exu's
   characteristics, but none is wholely like him. Umbandists honor Exu
   because without his essence the orixas could not manifest their
   powers.
   
   As a result, Exu cannot be equated with an orixa. Whatever he
   represents to you depends on your personal interpretation. If you
   believe him to be the agent of evil, surely he will rise to the
   occasion. If you think he is good, he will behave benevolently. If you
   see him as a neutral agent, again this chameleon will satisfy your
   expectation. Whatever Exu, or his female counterpart, Pomba-Gira,
   symbolize, is very much up to you. After you read this book, perhaps
   you will decide.
   
   The pages that follow explain the significance of Exu's female aspect,
   who is known as Pomba-Gira. The translator's footnotes at the end of
   the book explain details not addressed in the text. It is hoped that
   the pronunciation guide in the appendix will help with the words in
   Portuguese, which is not an easy language to learn to pronounce.
   
   The author describes Pomba-Gira's many aspects and details the rituals
   performed in her honor. Remember that the language of Umbanda is
   symbolic, and that much of what the author expresses in concrete,
   almost simplistic terms is meant to be interpreted on a symbolic
   level, as has been explained in this introduction.

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