Originally published in 2003 Santerà a Enthroned combines art, history, cultural anthropology, and ethnohistory to show how Africans and their descendants have developed novel forms of religious practice in the face of relentless oppression.
Originally published in 2003 Santerà a Enthroned combines art, history, cultural anthropology, and ethnohistory to show how Africans and their descendants have developed novel forms of religious practice in the face of relentless oppression.
List of Illustrations Preface Acknowledgements Introduction Part I: Institutional and Ritual Innovation 1. Black Royalty: New Social Frameworks and Remodeled Iconographies in Nineteenth-Century Havana 2. From Cabildo de Nacíon to Casa-Templo: The New Lucumí, Institutional Reform, and the Shifting Location of Cultural Authenticity 3. Myths of the Yoruba Past and Innovations of the Lucumí Present: The Narrative Production of Cosmology, Authority, and Ritual Variation Part II: Iconographic Innovation 4. Royal Iconography and the Modern Lucumí Initiation 5. "The Palace of the Obá Lucumí" and the "Creole Taste": Innovations in Iconography and Meaning Conclusion Appendix 1: Fredrika Bremer's Description of a Sunday Afternoon Drumming in a Havana Lucumí Calbido, 1853 Appendix 2: Irene Wright's Description of Her Visit to "African Cabildo" in El Cerro, 1910 Appendix 3: The "Regular" Ifá-Centric Initiation versus the Ocha-Centric Initiation Appendix 4: The Oriate's Counternarrative to Ifa-Centric Ocha Practive Appendix 5: Calendar of Oricha and Saint Feasts Days Appendix 6: Oral Data from Fieldwork: Interviews, Personal Communications and Correspondence Notes Glossary Works Cited Index
List of Illustrations Preface Acknowledgements Introduction Part I: Institutional and Ritual Innovation 1. Black Royalty: New Social Frameworks and Remodeled Iconographies in Nineteenth-Century Havana 2. From Cabildo de Nacíon to Casa-Templo: The New Lucumí, Institutional Reform, and the Shifting Location of Cultural Authenticity 3. Myths of the Yoruba Past and Innovations of the Lucumí Present: The Narrative Production of Cosmology, Authority, and Ritual Variation Part II: Iconographic Innovation 4. Royal Iconography and the Modern Lucumí Initiation 5. "The Palace of the Obá Lucumí" and the "Creole Taste": Innovations in Iconography and Meaning Conclusion Appendix 1: Fredrika Bremer's Description of a Sunday Afternoon Drumming in a Havana Lucumí Calbido, 1853 Appendix 2: Irene Wright's Description of Her Visit to "African Cabildo" in El Cerro, 1910 Appendix 3: The "Regular" Ifá-Centric Initiation versus the Ocha-Centric Initiation Appendix 4: The Oriate's Counternarrative to Ifa-Centric Ocha Practive Appendix 5: Calendar of Oricha and Saint Feasts Days Appendix 6: Oral Data from Fieldwork: Interviews, Personal Communications and Correspondence Notes Glossary Works Cited Index
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