The Cuban material did not stop with the mid-century ethnographers. Later scholarship approached Lucumi practice as an institution with a documented history rather than as a survival to be salvaged, tracing how religious houses formed, how authority within them was constituted and how the tradition travelled with migration to Miami, New Jersey and beyond.
Two consequences matter for this entry. The first is that Lucumi practice can now be described historically, with dates, places and named houses, rather than only as timeless custom, and that historical frame is what these entries draw on. The second is that the scholarship has become correspondingly careful about the difference between describing a practice and disclosing it, since it is written in dialogue with communities that read it.
Oshe, the five-mouth throw, sits within that documented institution. The atlas can say where it falls in the sequence of parent signs, how the sequence is generated and who casts it.
It cannot responsibly say what Oshe tells a person who has come to consult a diviner. That knowledge is conferred through initiation and applied inside a relationship between diviner and client, and it is not set out here.