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First published in Cuba in 1954 and appearing here in English for
the first time, Lydia Cabrera’s El Monte is a foundational and
iconic study of Afro-Cuban religious and cultural traditions.
Drawing on conversations with elderly Afro-Cuban priests who were
one or two generations away from the transatlantic slave trade,
Cabrera combines ethnography, history, folklore, literature, and
botany to provide a panoramic account of the multifaceted influence
of Afro-Atlantic cultures in Cuba. Cabrera details the natural and
spiritual landscape of the Cuban monte (forest, wilderness) and
discusses hundreds of herbs and the constellations of deities,
sacred rites, and knowledge that envelop them. The result is a
complex spiritual and medicinal architecture of Afro-Cuban
cultures. This new edition of what is often referred to as “the
Santería bible” includes a new foreword, introduction, and
translator notes. As a seminal work in the study of the African
diaspora that has profoundly impacted numerous fields, Cabrera’s
magnum opus is essential for scholars, activists, and religious
devotees of Afro-Cuban traditions alike.
First published in Cuba in 1954 and appearing here in English for
the first time, Lydia Cabrera's El Monte is a foundational and
iconic study of Afro-Cuban religious and cultural traditions.
Drawing on conversations with elderly Afro-Cuban priests who were
one or two generations away from the transatlantic slave trade,
Cabrera combines ethnography, history, folklore, literature, and
botany to provide a panoramic account of the multifaceted influence
of Afro-Atlantic cultures in Cuba. Cabrera details the natural and
spiritual landscape of the Cuban monte (forest, wilderness) and
discusses hundreds of herbs and the constellations of deities,
sacred rights, and knowledge that envelop them. The result is a
complex spiritual and medicinal architecture of Afro-Cuban
cultures. This new edition of what is often referred to as "the
Santeria bible" includes a new foreword, introduction, and
translator notes. As a seminal work in the study of the African
diaspora that has profoundly impacted numerous fields, Cabrera's
magnum opus is essential for scholars, activists, and religious
devotees of Afro-Cuban traditions alike.
In 1988, Lydia Cabrera (1899-1991) published La lengua sagrada de
los Nanigos, an Abakua phrasebook that is to this day the largest
work available on any African diaspora community in the Americas.
In the early 1800s in Cuba, enslaved Africans from the Cross River
region of southeastern Nigeria and southwestern Cameroon created
Abakua societies for protection and mutual aid. Abakua rites
reenact mythic legends of the institution's history in Africa,
using dance, chants, drumming, symbolic writing, herbs, domestic
animals, and masked performers to represent African ancestors.
Criminalized and scorned in the colonial era, Abakua members were
at the same time contributing to the creation of a unique Cuban
culture, including rumba music, now considered a national treasure.
Translated for the first time into English, Cabrera's lexicon
documents phrases vital to the creation of a specific
African-derived identity in Cuba and presents the first "insider's"
view of this African heritage. This text presents thoroughly
researched commentaries that link hundreds of entries to the
context of mythic rites, skilled ritual performance, and the
influence of Abakua in Cuban society and popular music. Generously
illustrated with photographs and drawings, the volume includes a
new introduction to Cabrera's writing as well as appendices that
situate this important work in Cuba's history. With the help of
living Abakua specialists in Cuba and the US, Ivor L. Miller and P.
Gonzalez Gomes-Casseres have translated Cabrera's Spanish into
English for the first time while keeping her meanings and
cultivated style intact, opening this seminal work to new audiences
and propelling its legacy in African diaspora studies.
ANAG, VOCABULARIO LUCUM (El Yoruba que se habla en Cuba.) Lydia
Cabrera
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Afro-Cuban Tales (Paperback, New)
Lydia Cabrera; Translated by J. Alberto Hernandez-Chiroldes, Lauren Yoder; Introduction by Isabel Castellanos
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R628
Discovery Miles 6 280
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Ships in 12 - 17 working days
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As much a storyteller as an ethnographer, Lydia Cabrera was
captivated by a strange and magical new world revealed to her by
her Afro-Cuban friends in early twentieth-century Havana. In
Afro-Cuban Tales this world comes to teeming life, introducing
English-speaking readers to a realm of tenuous boundaries between
the natural and the supernatural, deities and mortals, the
spiritual and the seemingly inanimate. Here readers will find a
vibrant, imaginative record of African culture transplanted to Cuba
and transformed over time, a passionate and subversive alternative
to the dominant Western culture of the Americas. In this charmed
realm of myth and legend, imaginative flights, and hard realities,
Cabrera shows us a world turned upside down. In this domain guinea
hens can make dour Asturians and the king of Spain dance; little
fat cooking pots might prepare their own meals; the pope can send
encyclicals about pumpkins; and officials can be defeated by the
shrewdness of turtles. The first English translation of one of the
most important writers on African culture in the Americas, the
collection provides a fascinating view of how African traditions,
myths, stories, and religions traveled to the New World-of how, in
their tales, Africans in the Americas created a New World all their
own. Lydia Cabrera (1899-1991) was a legendary Cuban ethnographer
of Afro-Cuban culture and the author of many books, including El
Monte and Vocabulario Congo. Alberto Hernandez-Chiroldes is a
professor and chair of the Spanish department at Davidson College.
Lauren Yoder is James Sprunt Professor of French at Davidson
College. Isabel Castellanos is one of the foremost scholars on
Afro-Cuban culture.
Los origenes de los Palos Mayombe y Kimbiza se encuentran en
algunos paises africanos tales como el Zaire, Angola, Congo,
Sambia, Namibia y en todos los paises donde se hallan las tribus
Bantu. La religion de Palo se desarrollo en Cuba, Haiti y otras
partes del Caribe. A mediados de 1841, el primer grupo de personas
procedentes de diferentes zonas de Nigeria y de las tribus Bantu,
el pueblo de Calabar fundo una sociedad. Esta sociedad se llama la
sociedad Abakua. La sociedad Abakua da origen a los linajes de Palo
Mayombe y de Palo Kimbiza. Mientras que el Palo Mayombe fue muy
fuerte en Cuba, al mismo tiempo el vudu Mayombe y Kimbiza se
estaban desarrollando y creciendo en Haiti. La tradicion Kimbiza
fue traida a Cuba por Andres Petit Alto sacerdote y fundador que
ostentaba el titulo de Tata Nganga Nkisi Malongo. Es una figura muy
controvertida porque no solo saco adelante la primera casa Kimbiza
sino que, tambien, fundo la primera sociedad de blancos en el
linaje Abakua. Fundo estas sociedades en 1863 en la ciudad de
Guanabacoa, Cuba. A Andres Petit se le llamo el Cristo de los
Dolores Mayombara Kimbiza Nuncatesia. Lo cual significa que actuo
en contra de los mayores de mayombe al iniciar a los blancos en las
tradiciones Abakua y Kimbiza. Por ello, fue condenado y marginado,
pero su legado dejo un millar de templos Kimbiza en la Cuba de
aquel tiempo. Kimbiza quiere decir superar. Kimbiza quiere decir
que si tenemos fe en Dios y utilizamos todo lo que procede de la
tradicion y de la palabra de Dios y de las antiguas ensenanzas de
los pueblos Congo y Bantu, que aprendieron a respetar a la Madre
Naturaleza y a todos sus atributos, todas estas ensenanzas juntas
forman un gran cumulo de conocimientos. Kimbiza toma todo esto de
las diferentes religiones espirituales que provienen de Dios para
superar al mal en la vida. Al tener fe en el Todopoderoso y al
creer en ti mismo, respetando las ensenanzas de tus antepasados y
aplicando todas esas ensenanzas a tu vida diaria, te salvas a ti
mismo, alcanzas la iluminacion y ademas, salvas a los demas y los
ayudas a encontrarse a si mismos en esta jungla de asfalto a la que
llamamos el nuevo mundo. En Africa, esta tradicion no se conoce
como Palo. Esta tradicion se conoce como Yimbola. Es la practica de
los chamanes africanos solo porque en muchos de esos paises, la
clase dirigente es musulmana. Es por esto que los rangos en esas
tradiciones, asi como los saludos tales como: Sala Maleco, Maleco
Sala pertenecen a las costumbres musulmanas. Este es un saludo
utilizado por los paleros de las tradiciones Kimbiza y Mayombe. La
diferencia entre Mayombe y Kimbiza es que Mayombe es estrictamente
congo y no esta mezclado con creencias esotericas ni espiritualismo
ni catolicismo ni Ocha. Es una religion congolesa pura que venera a
los antepasados mediante el caldero. Kimbiza, por otra parte, tiene
mucho de mayombe, vudu, espiritualismo, esoterismo, chamanismo,
catolicismo y Ocha. Aunque Kimbiza esta mucho mas cerca de Ocha que
de Mayombe.
KOEKO IYAWO: APRENDE NOVICIA (Pequeno tratado de Regla Lucumi)
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The Sacred Language of the Abakua (Paperback)
Lydia Cabrera; Edited by Ivor L. Miller, P. Gonzalez Gomes-Casseres; Contributions by Victor Manfredi
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R3,170
R2,163
Discovery Miles 21 630
Save R1,007 (32%)
|
Ships in 12 - 17 working days
|
In 1988, Lydia Cabrera (1899-1991) published La lengua sagrada de
los Nanigos, an Abakua phrasebook that is to this day the largest
work available on any African diaspora community in the Americas.
In the early 1800s in Cuba, enslaved Africans from the Cross River
region of southeastern Nigeria and southwestern Cameroon created
Abakua societies for protection and mutual aid. Abakua rites
reenact mythic legends of the institution's history in Africa,
using dance, chants, drumming, symbolic writing, herbs, domestic
animals, and masked performers to represent African ancestors.
Criminalized and scorned in the colonial era, Abakua members were
at the same time contributing to the creation of a unique Cuban
culture, including rumba music, now considered a national treasure.
Translated for the first time into English, Cabrera's lexicon
documents phrases vital to the creation of a specific
African-derived identity in Cuba and presents the first "insider's"
view of this African heritage. This text presents thoroughly
researched commentaries that link hundreds of entries to the
context of mythic rites, skilled ritual performance, and the
influence of Abakua in Cuban society and popular music. Generously
illustrated with photographs and drawings, the volume includes a
new introduction to Cabrera's writing as well as appendices that
situate this important work in Cuba's history. With the help of
living Abakua specialists in Cuba and the US, Ivor L. Miller and P.
Gonzalez Gomes-Casseres have translated Cabrera's Spanish into
English for the first time while keeping her meanings and
cultivated style intact, opening this seminal work to new audiences
and propelling its legacy in African diaspora studies.
En esta obra Lydia Cabrera, transcribe y colecciona por puro
deleite el conjunto de leyendas negras de La Habana. Se trata de
Cuentos afrocubanos, que aunque estan cundidos'de fantasia y
ofrecen entre sus protagonistas algunos personajes del panteon
yoruba, como Obaogo, Oshun, Ochosi, etc., no son unicamente
religiosos. La mayoria entran en la categoria de fabulas de
animales. Otros son de personajes humanos en los cuales la
mitologia entra secundariamente. En varios de ellos se descubren
supervivencias totemicas, como cuando se cita el Hombre-tigre, el
Hombre-Toro. Papa-Jicotea, etc. Otro nos ofrece unas fabulas muy
curiosas, de como se originaron el primer hombre, el primer negro y
el primer blanco, muestra de como abundan en el folklore negro los
mitos de la etnogenia. Si bien la mayor parte de los cuentos negros
coleccionados por Lydia Cabrera son de origen yoruba, en varios
aparece evidente la huella de la civilizacion de los blancos.
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