Book: Afro-Cuban Religions
Author: Miguel Barnet
Reviewer: Balford Henry
THIS book is influenced by the work of Fernando Ortiz, pioneer of the study of Afro-Cuban culture, who argued for transculturation rather than acculturation as the dominant factor in the creation of Cuban mass culture.
The difference being that, while the latter suggests the absorption of what is often considered to be inferior cultures into a dominant culture, the former is about cultures mutually influencing each other.
So Alfonso Reyes, in his introduction to Ortiz's Los Bailes y el teatro de los Negros en el folklore de Cuba (The dances and theatre of blacks in Cuban folklore), suggests the reading of the works of Ortiz, regarded as the master of Cuban ethnology, as necessary to understand the mysteries of the Cuban culture.
Barnet says his book provides a compass showing the way through the maze of legends and "manifold and overlapping contradictory versions which can lead to confusion when the reasons behind the migration and syncretism of certain themes are not apparent to the reader."
The book thins out the dense undergrowth of traits of Yoruba and Bantu origin which are, "not only in existence today but in fact are flourishing magnificently."
Santeria
It concentrates on Regla de Ocha or Santeria and Regla de Palo Monte, Afro-Cuban religions resulting from of the transculturation of African elements which took root in Cuba and has had very strong influences on the island's culture.
Santeria is a system of beliefs and rituals based on the the worship of orishas, or deified ancestors who have established control over natural forces.
These orishas also act as intermediaries between man and God and, because of the influence of the dominant Roman Catholic religion in Cuba, are also referred to as saints (santos).
The orishas are of Nigerian (Yoruba)/Roman Catholic origins and Barnet says that the religion, which is perhaps as widely practised in Cuba as the hybrid form known as spiritism, has its basis in the concept of a supreme trinity consisting of Olofi (the sovreign ruler), Oloddumare (almighty one) and Olorun (owner or lord of heaven).
This trinity has authority over the other orishas, but are not themselves objects of worship nor do they have direct cult, he explains.
The orishas are the subjects and messengers on earth and and are worshipped directly, have personal cults and are not considered abstract or noble entities.
"They intercede before Olofi on behalf of human beings through Obbatala, the Supreme Judge or Principal Messenger, and can either reward or punish them depending on their everyday conduct."
Orishas
Among the best known orishas is Oggun, one of the oldest of the Yoruba pantheon, the god of ore or anything made from iron. His symbols are machetes, shovels, pickaxes, chains, hammers, keys and other iron onjects. In Cuba he is regarded on the same level as St. Peter, the founder of the Roman Catholic church.
Another orisha, Orula, has as his Roman Catholic counterpart as St. Francis of Assissi, Chango is equated with St. Barbara and Babalu Aye with St. Lazarus, because he is the god of disease.
The Regla Congo de Palo Monte religion was created in Cuba by slaves brought from the Congo Basin with their numerous languages, customs and traditions. But, there are three areas of the Basin recognised as the sources of this religion and culture - Briyumba, Kimbisa and Mayombe.
Barnet admits that with the most genuine repositories of the Congolese cultures now dead, their descendants' memories of them are so imaginative they create "a thorny tangle that is impossible to unravel."
Descendants accuse each other of transforming the truth and disturbing the foundation, so there are criticisms of how things are done and the view often held that particular ancestors are the only custodians of the facts.
He says that the diversity of opinion among the "Congos" have given their rituals and myths an "openness and flexibility" to external influences, that is absent from other religions.
So he suggests a possible structure for the sects based on origin and liturgical characteristics.
The most comprehensive definitions being Regla Conga or Regla de Palo, Palo Monte and Mayombe, which refer to the sticks and branches from the forest which are used for magical spells.
In Mayombe, one of the most widely known, the devil incarnate is Kandiempembe, the spirit of murderers and suicide victims. He is also the spirit of sorcerers, but he can also be "Christian," doing good works and healing.
Kimbisa, another Congolese sect has incorporated elements of Western culture, spiritism and Roman Catholicism. The sect mixes Spanish superstitions and popular Roman Catholicism with elements of African rites.
Glasses of water, crucifixes and pictures of the holy sacrament are used. Kimbisa is also distinguished by another major cultural force, its musical forms, including the use of a sacred, secret drum known as the kinfuiti.
The "Congos are famous for their music and dances, which have blended into Cuban music and dance culture. The songs are short simple melodies repeated over and over. They are considered much less complex and more melodical than the Yoruba's. The dances are collective in character and range from free-for-alls to dances executed by couples.
Unlike Jamaica, Cuba has made a fervent attempt not just to maintain the features of its culture which makes it distinct and unique, but also to record these developments for posterity.
The result is this rich, African flavoured tradition, as well as a written history of its formation which obviously helps to nourish their pride and and independence.
Publisher: Markus Weiner
