PARTICULARS

Dimamanga

The point and the circle symbolize the value one (1), whether in the macroworld _circle, world,
society_, like in the microworld _point, individual, concrete situation_.

The circle is a very important figure in the patipembas, which has different meanings of
Depending on how it is used. A large circle can symbolize the universe, the micro world over which
one wants to act, the Sun, the circle of protection, while the medium circles can
to contain the sign of a record, the abbreviated signature or path of a mpungu or the place to put
a work, trace or fula, within a work patipemba, and the youngest indicate to the
darker spirits or ndokis, in contrast to the small crosses, which indicate the ndundus or
spirits that are used to heal and do good, in general.

The line symbolizes the duality (2) present in all things since humanity tasted the
the fruit of knowledge and because of it, his mind expanded and distanced itself from the Whole, giving
origin to individual consciousness. The straight lines symbolize the journey from one point to another of
space (vertical line) and time (horizontal line), while the curves indicate the
movement of the entities _nkisi, nkuyo, nfumbe, ndundu, ndoki_ responsible for carrying out
the work of the Nganga or witch.
Each record for vititi (view, consultation, research) and/or nsara (work) is opened by tracing
a new large circle between the sorcerer and the consultant. The crossed vertical and horizontal lines
inside symbolize the four winds, the four cardinal points and the corresponding
five Elements _Air/north, Earth/south, Fire/east, Water/west, and Spirit/center_. In the
In the center of that circular stage, a candle is lit and the chamalongos or semiracon are thrown.
a until the titty you or with a plate. Some paleros reinforce or replace the circle with
war collar or flag, which is valid. The diameter of each circle depends on the
complexity and the number of participants in each ritual, so that the circles in which
several people intervene, they are drawn with thick strokes of chalk dust or flour and in the center
a bonfire is lit instead of a candle.
 The vertical line becomes
in an arrow _with a tip at one end and feathers at the tail_ to indicate the direction of the work
(from bottom to top, if a job is issued or launched, and from top to bottom if it is a
attack launched against the consultant, which wants to break and in the process trap the spirit
in charge of executing it, just as one steals a trained pigeon with another pigeon
trained) and the horizontal line transforms into an arrow to indicate the direction in time
from left to right, towards the future and from right to left, towards the past
records, breaks, cleansings and healings launched from the present into the past and from
the works sent from the present towards the future.

On these four basic circles, the curved lines are then drawn, called ñocas due to their
similarity with snakes, which symbolize the winds or spirits that intervene in the
drama that is performed within the magical stage. The eastern and western portions symbolize the
past and north and south, the future and the present, respectively. A spirit can be sent
from the present to the past, to investigate, cleanse, heal, or disrupt and from the
present towards the future, to foresee and modify the paths or destinations at convenience. All
the alligator that we see born in the south represents a spirit sent by the shaman who officiates from the
present moment towards the future or towards the past and every time we see one come out of the east, it indicates
an entity or situation from the past that continues to affect the present, the path to the future. The
ñocas can only be born in the lower part of the circle (southeast, past-present), but
They can end at any moment-place of space-time.
 The letters and words of this signature are to support the explanation, but not in the real patipembas.
they are usually used. Written language is a Creole contribution, of Western origin, to witchcraft
African _just like tobacco is a contribution from Native Americans_, which is mostly used
to write the names of people in the different nsaras or jobs.

The ñoca indicates a magical action _whether work, war, or research_ that the sorcerer initiates from
the present moment towards the past of a situation or person.

As the registration progresses, the ñocas are being traced until the situation and the work
are correctly indicated and located within the circle, under the watchful gaze of the
entities invoked to settle the matter. The sorcerer, like a general over a map, explains with
drawings, to their invisible officers, the battle plan.
 Action from the present towards the future.

The ñoca indicates a magical action, generally created in the past, that continues to act upon the
person or situation in the present.
 From the present moment, the sorcerer initiates a magical action towards the past, to investigate or
to sabotage a spell cast by another wizard or, on the contrary, to reinforce a previous spell.

Finally, the sorcerer sends a second action _third wave_ from the present moment towards the
future. This signature may indicate, for example, a session in which the wizard sends a spirit towards
the past, to investigate and dismantle a makumba (harm, evil) or nkuta (binding, domination)
launched against the consultant or the person one wants to influence, and another towards the future, to
to open the paths of success or victory in a certain matter or to bring luck in general.

The traces, images, or fetishes of the places and people one wishes to influence are
they place at the tip or head of the fish and the works or pieces at the tail.

The small crosses and circles symbolize the _ndundu or positive energies and ndoki or
negative, respectively, that characterize each job and that are directed by the nkisi or
sorcerer's nfumbe. Every nganga, tata or father nkisi needs, at minimum, one nkisi and four
auxiliary spirits _two ndundus and two ndokis_. Pure garments are only inhabited by a nkisi
and four or more auxiliary spirits _like in the case of Nsasi or Seven Rays, from Mayombe_, but
Some ngangas set up with Creole treaties _of Briyumba and Kimbisa, mainly_ can
to be inhabited by various related nkisi, such as Sarabanda, Lucero, Cabo Ronda, and Brazo Fuerte, in
the case of the warrior mpungus or like Mother of Water and Mama Chola, in the case of the spirits
or forces of freshwater and saltwater or like Cuatro Vientos and Ngurufinda, as an example of
alliance among air mpu ngos.

In this signature, the lower tilde indicates an action in the direction of the past _probably vititi, seen or
record and another towards the future of the person or situation, launched from the present, in the same
session. It can mean, for example, a person who goes to seek advice, the sorcerer investigates their
past to understand what is happening and what needs to be done and then carry out the appropriate action
send one of his spirits to carry it out.

Sarabanda is a Creole nkisi that arises from the alliance between several warrior mpungus inspired
by the alliance of the three warrior orishas of the ocha rule and a strong and brave nfumbe,
originally, preferably, from a police officer, military, gangster, fighter or warrior in general, for
to be able to confront and defeat the previously invincible nkisi mayombe, known as Nsasi
Oh Seven Rays. That was an essential duel for the Briyumba rule to earn respect.
of the mayomberos and could carve a place in the world of Palo Monte. Similar duels
they had to confront the first Abakuá powers for whites and mulattos that were founded in
the 19th century and the Kimbisa temples, when the rule of the Holy Christ of a Good Journey emerged. Each
the new rule must fight with the previous one to test its strength and gain experience and respect, to
just like every new tata seeks to measure strength against other nganguleros from rival games and to
it is really _although it is not ethical and it is very wrong_ with their own elders. It is something natural, the law of
the jungle struggling to survive in modern life, like Chinese martial arts schools
in the early 19th century, all confronting each other for the supremacy of their respective styles,
but at the same time strongly united in the resistance against modern civilization,
to preserve and develop their traditional culture.
 The small crosses and circles that appear above the tail of the ñoca indicate to the spirits.
in charge of the nsara or work. This signature, in general, can be interpreted as a work submitted
from the present to the future, which will last 4 days and will include four opposing actions, which will lead to
two ndundus and two ndokis, alternating negative and positive actions, as indicated by the
small arrows before the head or tip of the lure, to reach its target.

Once the traces and the work on the ñoca are arranged and the planned sacrifices have been made (if
Outside the case, for the nganga eats when it begins to weaken or when a
promise or one is rewarded for good work, but one cannot be overfed. Likewise
that dogs, the nkisi work better when they are hungry, but still strong
light the fula (gunpowder prepared with mpolos or nkunias powders or sticks and other substances)
corresponding to the type of work) to drive the nkisi, nkuyo, nfumbe, ndundu or ndoki towards
its victims and objectives. The fula is placed over the line of the ñoca in small piles whose
number can indicate the days from the present moment when it is desired that it be fulfilled
work. The way to exploit, leaving some little piles intact, can be interpreted as
a confirmation of the work or the opposite, that something is missing or done wrong, for example.
 To the same previous patipemba, we add a simple signature of Chola Wengue, which can indicate to
guardian angel or mpungu of the head or protector or, that the strength of this entity is used in
work. Having Chola Wengue a strong relationship with love and economic matters in the
Palo Monte, we can deduce that this work pursues one or both of those objectives: love and fortune.

Below we add a simple signature of Lucero, the mpungu of the strength of that star and of the
world's paths and human destinations. It can now be interpreted that this work is for
to open the paths of love and/or fortune for a person.

Inside the circle, the signatures of the nkisi and other mpungus that do not can also be traced.
están fundidos con ningún nfumbe( un nkisi es un muerto fundido con la fuerza de un mpungu
within the crucible of the nganga), nor do they live in the cauldron, but whose strength is needed for a
work (such as in the case of Kobayende, Mama Chola or unkarireo demon, like
Lugambé, which is only called upon for very strong and negative works that the nkisi of the sorcerer does not.
can carry it out alone), but generally, a true sorcerer only works with their nkisi,
because when Cheche Bacheche walks, nothing else is needed. In fact, when a wizard carries
After several years working with an nkisi, the time comes when it no longer needs to perform the works.
more common, since the nkisi already knows what to do just by seeing the patipemba of the
work and the traces at the tip of the ñoca.

The partially red object, which appears at the bottom of the circle, at the tail of the arrow
vertical, indicates the place where the work or project should be placed, if necessary (some
jobs do not require construction, only the correctly drawn patipemba and other elements, such as
chamba, tobacco, candle, etc.) and the clay figure missing its head and one arm indicates where
we must place the traces at the head of the ñoca. Some paleros place the work at the tail of the
nox, instead of on the tail of the vertical arrow, which is also valid, if one is accustomed to the nkisi
de ese modo. Lo que no funciona es hacer hoy un trabajo con la obra en la ñoca y mañana otro con la
work on the vertical arrow, as we confuse the entities.

The patipembas that represent the mpungus are not used to invoke them, as many think.
people, if not to explain to the nkisi that it has to use the spiritual force or energy of that
specific mpungu to carry out the work in question. That's why there are so many patipembas.
different from each mpungu, just like the garments, the patipembas keep changing and
evolving with each new path. The important thing is that our nkisi understands our
patipembas, not what the observers think.

The signatures of the nganga or witch and the nkisi or dead should not be seen _at least not completely. To
Just like the name, the personal patipemba should not be fully displayed to prevent others from seeing it.
may copy it and dominate us through it_ by no one. They are secrets between nganga and nkisi that only
They are used when a garment is worn or when working far from the nso nkisi, without a garment, nor mpaka.
or in important ceremonies (collective markings, drum beats, celebrations,
foundation of a new munanso, war council, etc.) in which several sorcerers participate and
he usually signs before the main foundation, as a sign of respect for the invited palero and his nkisi
towards the host or main daddy and his entities.

The most powerful tatas are those who merge with their nkisi, allowing it to inhabit them permanently.
in its aura or astral body and sharing with it all its senses, experiences, and memories
change of hidden knowledge and superior magical powers. Many people take them for old ones.
crazy because they live apart in the mountains and talk to themselves and when you look into their eyes you feel that something
no human watches you from the other side. Extravagant and antisocial, yes, but nothing crazy.
most of them tend to enjoy amazing health and clarity until their last moments.
long lives. Many easily surpass a hundred years walking, working, and chewing and
smiling with their own teeth. But it's better to keep a distance if one is young and
healthy, since Lydia Cabrera herself was warned in her time not to visit a certain
very old and powerful Congo sorcerer that she wanted to interview, as she risked being robbed.
the vital force to prolong their life. Those elders no longer need clothes or patipembas to call
a sus nkisi, since they themselves are nkisi, a single being half alive or half dead, depending on
what world one looks at.

The simple patipemba of Sarabanda shows us the alliance between this mpungu of metals, tools, and weapons.
with Nkuyo Watariamba (Cabo Ronda. He is associated with hunting, the police, and war), symbolized by the
arrow and with Nkuyo Lucero, symbolized by the Four Winds.
Tata nkisi is not alive
Tata nganga is not dead
Bring the spirit here, healer.
My mother's father is my uncle.