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    Start Over Subject Term Afro-Cuban Subject Term Santeria

    1. Foot tracks in the ocean: Zora Neale Hurston and the creation of an African-American transcultural identity

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    Collection:
    Black Caribbean Literature (BCL)
    Contributers:
    Coloma Penate,Patricia (Author)
    Format:
    Dissertation/Thesis
    Publication Date:
    2012
    Published:
    Georgia: Georgia State University
    Location:
    African American Research Center, Library, University of Illinois at Urbana-Champaign
    Journal Title:
    ProQuest Dissertations and Theses
    Notes:
    Focuses on African American and Afro-Hispanic literature and folklore. Employs Fernando Ortiz's theory of transculturation. Ortiz makes the case that a new Afro-Cuban identity is created with the intermingling of African, Spanish and native inhabitants of Cuba. Using Ortiz's critical framework as the foundation of this study, critiques of Zora Neale Hurston's portrayal of African American identity. Examines the parallel between her work and that of Lydia Cabrera, a Cuban ethnographer whose work represents Afro-Cuban identity as a transcultural one.

    2. The Erotics of Ache: The Social Experience of Pleasure in Afro-Cuban Ritual Performance

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    Collection:
    Black Caribbean Literature (BCL)
    Contributers:
    Valladares,Amy Daken (Author)
    Format:
    Dissertation/Thesis
    Publication Date:
    2013
    Published:
    New York: New York University
    Location:
    African American Research Center, Library, University of Illinois at Urbana-Champaign
    Journal Title:
    ProQuest Dissertations and Theses
    Notes:
    277 p., Afro-Cuban (Santería ) drummers are trained ritual specialists in minority religious communities, initiated through secret rites into homosocial community groups. Historically, women and non-heteronormative men have been excluded from playing consecrated batá drums. This dissertation investigates how drummers construct the sensual and physical essence of musical sound around gender and sexual hierarchies in Afro-Cuban diasporic contexts (Havana, Miami, New York, and New Jersey). Drummers possess a theory of power based on concepts of how the feeling of aché (from Yoruban language, "the power to make things happen") is channeled during performance. Considers colonial-period Afro-Cuban social societies (cabildos ) as a source of possible residual patriarchal authority in the current male drumming cult community.