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| Atabey | |
|---|---|
Mother of Waters, fresh water and fertility | |
Reproduction of petroglyph depicting Atabey
| |
| Abode | The heavens |
| Symbol | Depicted as a nude woman, a therianthropic representation of Mother of Water |
| Genealogy | |
| Children | Yúcahu and Guacar (twins),Yayael |
Atabey is an ancestral mother of the Taíno, one of two supreme ancestral spirits in Taíno mythology. She was worshipped as a zemi, which is an embodiment of nature and ancestral spirit, (not to be confused with a goddess, how she is commonly referred to in colonial terms to replace Taíno verbiage and culture) of fresh water and fertility;[1] she is the female entity who represents the Spirit of all horizontal water, lakes, streams, the sea, and the marine tides.[2] This spirit was one of the most important for the native tribes that inhabited the Caribbean islands of the Antilles, mostly in Puerto Rico (Borikén), Hispaniola, and Cuba.[3]
Atabey or Atabeira defines prime matter and all that is tangible or material and has several manifestations. One is the aforementioned nurturing maternal figure. Another is Caguana: the spirit of love. The last is Guabancex (also known as Gua Ban Ceh): the violent, Wild Mother of storms, volcanoes, and earthquakes.
Alternate names for Atabey are Iermaoakar, Apito, and Sumaiko. Taíno women prayed to Atabey to ensure safe childbirth.[4]
Atabey conceived twin sons without intercourse. The best known is Yúcahu because he is the principal Taíno god who rules over the fertility of Yuca (cassava). She is also married to Yaya and had her first child, Yayael, who they later kill for trying to kill Yaya.
Atabey's symbology (and her avatar Guabancex) is one of the fundamental thematic foundations of the historical thriller Los hijos de la Diosa Huracán, by Daína Chaviano (Grijalbo-Random House, 2019). In this novel, this deity is a key character and subject in developing and solving the mysteries of the plot.
Atabey, Guabancex with her helpers Guatabá, Cuastriquie, and Juracán (embodiment of the hurricane) are repeatedly evoked in a novel by the Cuban-american writer Frederick A. de Armas. In Sinfonía salvaje (Madrid: Verbum, 2019) the hurricane represents the changes brought about in 1959 by the Cuban Revolution.
