Below is an infograph of information about the deity Ogún (Oggún Size). There is a brief summary of his place with the pantheon and Yoruba religion, notes on his personality, life, and Catholic counterpart, a prayer to invoke Ogún, elements associated with him, as well as different paths he has lived in his many reincarnations (the ones that I believe have some influence on the character in Red & Brown Water).
Below the infograph is an connection of each of the paths listed here as they relate to the world of the play.
Ogún Alagbo--this path of Ogún's highlights how much of a hardworker he is, working "day and night." We can see this is the character of Ogún by how he is constantly coming and going to the car shop, always in his work clothes, and almost never there to satisfy and love on Oyá.
Ogún Ohira--in this path, Ogún's connection to rain, mud, and murky waters is emphasized. This connects to the world of the play because of its emphasis on water--everything comes back to water. This also speaks to the origins of Ogún as he comes from the earth. Ogún's character is grounded--he knows what he wants, how to make it happen, and he stays on track with his values, morals, and rules--a true Earth sign!
Ogún Shibirki--here, Ogún's affinity to metal is highlighted which shows a connection as to why Tarell made Ogún's character a mechanic--both deal with metalwork. We also see in this path this jealousy Ogún has for Shango, especially when it comes to love interests.
Ogún Soroka--this path is a bit ironic when thinking in terms of the world of the play and Ogún's character. It is the 'highest speaking' path, but Ogún in the play has a speech impediment. So, what changes this in the world of the play? How does Ogún go from having a speech impediment to being in this 'higher speaking'?
Ogún Aladú--this is an interesting path of Ogún's. In Yoruba culture, Ogún declared war on Yemoja (in the case of the play, Oyá). However, this is much more subtle in the play. We also have to bring in Tarell's influence from Yerma (by Federico Garcia Lorca). In that play, Yerma is, essentially, held hostage by her husband so she won't get into trouble or bring gossip onto their household, going to the point of having his sister stay and watch her. We can see this a bit in Red and Brown in the moment where Ogún asks Aunt Elegua to keep an eye on Oyá.
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