Sculpture: Ossayin 21st Century (Sandor, 2007)


Sculpture: Ossayin 21st Century (Sandor, 2007)

Dimensions: 120 x 110 x 60 cm
Material: Inox and scrap metals

An homage to the Orisha of plants, Ossayin.

Hiding out in the woods, even more so than his brother Oxossi, it is the most feared of all Orisha. Today’s Pharmaceutical Industry is his living testimony.

In the Sandorian Grove, we can find him at the side of bow and arrow of Oxossi.

Sculpture: Medusa (Sandor, 2008)


Sculpture: Medusa (Sandor, 2008)

Height: 260 cm, width of top part: 120 cm
Weight: approx. 20kg
Material: Scrap metal, metal post
Installation: metal base. cemented into ground, post with 20 degrees inclination, secured with 2 steel wires

History and Purpose

Dedicated to the Greek Gorgon called Medusa, a female archetype about which a multitude of contradictionary and confusing articles have been written.

Originally a legend from the time of the rule matriarchs, it was said that no man could look at her without turning into stone.

In Wikipedia, the limitation to ‘gazing males’ has been dropped, as well as the information that the Perseus legend was added after the introduction of patriarchism.

The archetypal scriptlet of ‘turning into stone upon looking’ can be found in various different places of human cultures. In the Bible, Lot’s wife turned into a pillar of salt after looking over her shoulder at the Sodom and Gomorrah. In many cultures, looking over one’s shoulder is considered bringing bad luck.

In Ifá tradition, these scriptlets are part of Odù Ifá Odi-Osa and the name Me-du-sa reflects this concept in its ‘energetic semantics’.

This sculpture, in its current location in the Sandorian Grove, has been located in front of Sandor’s mosaic representation of the maze from the myth of the Minotaur on the island Crete.

Corso Online: Ifá nella Composizione Musicale

Ifá nella Arte della Composizione Musicale

Corso Online di Max Sandor


  • 1. Introduzione degli dozenti
  • 2. Ifá come lo specchio del mondo
  • 3. Estetica dal Oltre (Orun) per il Mundo aqui (Aiye)
  • 4. Storie archetipiche (Patakì) nelle canzoni attuali
  • 5. Dal Patakì al libretto
  • 6. Archetipi (Orishà) sul palco della musica
  • 7. Energie primordiali: Odù e Orishà negli strumenti musicali
  • 8.1 Odù nel ritmo
    8.2 Odù nella melodia
    8.3 Odù nelle armonie
  • 9.1 Orishà nel ritmo
    9.2 Orishà nella melodia
    9.3 Orishà nelle armonie
  • 10. Profile della canzone: dal Monomito (Campbell) al messagio universale (Ifá) ed al politico (Adorno)
  • 11. Il grande Finale: il morale della favola
  • 12. Finale finale: resumo o reinizio

Quest’corso viene insieme con un libro eletronico ed estratti (mp3) dagli canzoni analizzati durante il corso:  Lucio Dalla “Caruso”, Brecht/Weill “Mackie Messer”, Chico Buarque “Cálice”, Jovanotti “Una storia d’amore’, George Brassens “La marine” ed altri.