The other name that dominates the Cuban side of the record is Lydia Cabrera, whose El Monte was first published in Havana in 1954. It is an enormous and unruly book, built from long conversations with elderly Afro-Cuban practitioners, and it remains foundational for the study of Afro-Cuban religion.
Its value and its difficulty are the same thing. Cabrera worked close to her informants over many years and recorded a great deal that no survey would have reached, and the result is not organised as a reference work: it is discursive, it mixes registers, and it presents material as it was given rather than as a system. A reader should treat it as testimony, rich and specific, rather than as an authority to be quoted flatly.
For the sixteen parent signs this means the Cuban record is deep in places and thin in others, according to what particular people chose to say to a particular listener in the middle of the twentieth century.
Irosun, the four-mouth throw, is documented as one of the sixteen. What is recorded against it in that literature is the working material of initiated diviners, and it is not reproduced on this page.
One further point of method. Cabrera's informants were elderly when she worked with them, so the book reaches further back than its 1954 imprint suggests, into practice remembered from the nineteenth century. That reach is also its limit. What it preserves is memory, at one remove from the period it describes, and it should be read as such.