What does ajayo mean? Origin of the Carlinhos Brown salute.

Ajayô is a thank you, a final greeting for something that has been completed. It is also equivalent to the expression “so be it”. In several editions of the TV program The Voice Brasil, we heard the artist Carlinhos Brown shout ajayô to the audience, popularizing the greeting among people of all ages.

Anyone who thinks that the word ajayô is a jargon invented by the artist is mistaken. This word has been present in Brazilian culture for many centuries, but specifically in the state of Bahia, however, it only became better known from the TV show.

The word has its origin and history little known despite being part of the rich cultural arsenal of our country. In this article, you will understand more about their meanings as well as those of other terms that are part of this scenario.

The word ajayô has African origin and was incorporated into Brazilian culture, still in formation, in the colonial period from the arrival of African natives to the country. Continue reading to learn more about the history and other terms related to Brazilian identity.

The expression ajayô is also spoken as part of the request for protection from Oxalá, one of the most important orixás among the tribes of Africa. These people were taken from their country and brought to Brazil as slaves. Having their bodies butchered and freedom stolen, their faith and native language were the only thing they could sometimes keep.

The slave regime in Brazil caused free and non-freed blacks to live, for the most part, in regions of Bahia. Such miscegenation allowed African culture to be established. Thus, candomblé, capoeira, among other expressions, including the word ajayô, are spoken and practiced as a symbol of redemption in every sense.

Ojoyê or ajoyê is a term used in Candomblé to describe the Caretaker of Orixás. The term originates from Yoruba, one of the largest ethnic groups in West Africa. This is a very important position in the terreiro, as the caretaker has the task of accompanying, dancing and also taking care of the deity’s equipment.

They are also known as ekedis, and this role is reserved for women. Being an ajoyê is equivalent to being a maid of honor. Thus, their presence is essential, as in addition to introducing the entities, it ensures that both the orixás and the visitors to the terreiro are adequate and comfortable. It is also one of the most laborious positions in the religion.

Afoxé is an ancient manifestation of African culture, however, we know it as a rhythmic part of the music played at carnivals and at various events in the state of Bahia. The artist Carlinhos Brown, in turn, is from Bahia, and this is a musical record that belongs to his experience and which he proudly represents.

The word afoxé is of Yoruba origin and its appreciation is stronger in Salvador. It is part of the manifestation of resistance and religiosity of the black people in Brazil since the mid-1800s. The history that precedes the afoxé is profound and magical, the sounds of the atabaque, agogô and dances are, in essence, contagious and unmistakable.

Ajayô and ojoyê are expressions generally used in candomblé. The latter, therefore, is a very old Afro-Brazilian religion with more than 40,000 practitioners in Brazil alone and thousands of followers around the world.

It is formed by groups, also called nations, in which each one of them worships a deity. In this part of the article you will understand other terms used.

Oxalá is known as The Great Orixá of man, faith, creation and spirituality. He is revered as the one who moves life in the sense of the search for the motivations of existence and love of neighbor. Thus, the cult of him is celebrated on November 15th.

Some umbandistas confirm that there is a certain syncretism between Oxalá and Jesus Christ. Oxalá was the first orixá created by God, Olorum, and he received the mission to be the creator of the world.

The earth, water and sea are therefore his works. Each umbanda house uses a color to represent its orixás, however, traditionally, to designate Oxalá, the color used is white, as it symbolizes peace and its presence everywhere.

Candomblé is an adaptation of the cult of Orixás based on the reality lived by black people here in Brazil with slavery and persecution. Currently, in Brazilian lands, there are the traditional religions of Yoruba and Candomblé, although both are of African origin, they separated at a certain historical moment and that is why they are different.

The Yoruba were important in the cultural formation of Brazil. These are ethnic groups that live in Nigeria, Republic of Benin and Republic of Togo. However, the history of the Yoruba is spread across America, but unfortunately this is because of the slave culture under which these peoples lived for many centuries.

The Ojoyês or ekedes are important before, during and after the Candomblé ritual. It is also the position with the most responsibilities, because, as mentioned before, they are the Caretakers of Orixás. They are in charge of all the work that takes place inside the terreiro, so cleaning, food and ornamentation are part of their activities.

Thus, to be an ekede is to be predestined for a great mission. Therefore, caring for visitors, physical integrity, teaching children and beginners are part of her life. They have a social and religious role in candomblé.

Despite so much work, they occupy the highest position in the hierarchy within the terreiro, as they represent the mother and spokesperson of the Orixás.

In Umbanda, the term ekede is not used. Although this position exists, the name given to it is the cambono and can be held by a man or a woman, unlike Candomblé. As for ajayô or ajoyê, the first is a positive greeting and the second is a role in the terreiro. Other words like this are inspired by the African language, but have become so popular that they have gained new terminologies.

Oxalá, however, is a deity worshiped in both Umbanda and Candomblé. His figure is male and represents intelligence and creativity, so the children of Oxalá also carry these traits. Perfection, unity, family are gifts that come from this orixá, and its best-known and most appreciated quality is courage.

The first major difference between these two religious manifestations is in purpose. Thus, characteristics of rituality, worldview, customs and hierarchy of Candomblé have the mission of rescuing African culture. Umbanda, on the other hand, seeks essentially Brazilian culture, and within its terreiro is the presence of the Indian, the caipira, the northeastern and even the malandro do morro.

Another difference between these two religions is in the worship of Oxalá. In Candomblé, as well as in Africa, he is seen as God himself. Already in Umbanda he is like a force of nature, an energy, without a human form. There is also a relationship between the orixás of Umbanda and the saints of Catholicism, which, therefore, does not occur in Candomblé.

Undoubtedly, many African customs were assimilated in Brazilian territory. The Yoruba are one of many peoples who brought to the country the dialect, rhythm, dances and traditions that are still worshiped today.

They represent resistance and equality among all individuals. See here other words that are already well known, but that came from this culture.

The abadá was spoken in the Yoruba language to refer to the garments used in their rites and festivals. Interestingly, this word exists in Arabic and referred to people who were enslaved.

However, in Brazil the word continues to be used to indicate a garment. On this occasion, the abadá are the t-shirts that are used in carnival events.

Acarajé is certainly a highly esteemed food in Salvador, but it comes from the Yoruba dialect which means “ball of fire”. There is no doubt that the food was a gift from the African gastronomic specialty.

It became a symbol of Bahia, but in history it was an offering to the Orixás, and today, more than three centuries later, it is a historical heritage of the Candomblé people.

Nanny in Yoruba refers to the father. The word also accompanies other expressions of the terreiro, the first of which and the best known is “Babalorixá” to refer to the Father of Saint. “Babalawo” is the word for the Priest or Father of the Secret. Another Candomblé expression refers to Pai Pequeno as “Babá Kekere”.

Anyone who is adept, with knowledge of the cause and candomblecist culture can speak ajayô. Respect and good intentions regarding this expression are essential to use it on the right occasion.

With the popularization of the word by Carlinhos Brown, the sensation is of a certain permission to also appropriate its use. Despite having been more disseminated through The Voice Brasil program, it was said long before that.

However, the greeting is spoken by the afoxé group called Filhos de Gandhy, which has existed since 1949, and is still present in the allegories during the carnival period. During the parades you can hear them shouting ajayô in a synchronized way.

Thus, if you identify with the purpose brought by the expression, there is no problem in using it. Remember, however, to always respect the traditions and history that this greeting carries.