Abakuá
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Abakuá | |
---|---|
Afro-Cuban | |
Theology | Unknown Afro-Cuban beliefs |
Structure | Secret fraternal mutual aid society |
Origin | 1836 Cuba |
Separated from | Ekpe |
Abakuá, also sometimes known as Ñañiguismo,
Abakuá has been described as "an Afro-Cuban version of Freemasonry".[3]
The Cuban artist Belkis Ayón intensively investigated the Abakuá mythology in her prints.
History
Origins in Cuba
The secret society was known generally as
In contemporary Haiti, where secret societies have remained strong, an elite branch of the army that was set up to instill fear in the masses was named The Leopards. Among the less mystical Ñáñigo revenges was the ability to turn people over to slavers. In Africa the Ekpe were notorious operators who had made regular deals for profit with slavers.[2]
The creolized Cuban term Abakuá is thought to refer to the Abakpa area in southeast Nigeria, where the society was active. The first such societies were established by Africans in the town of Regla, Havana, in 1836.[4] This remains the main area of Abakuá adoption, especially the district of Guanabacoa in eastern Havana, and in Matanzas where Afro-Cuban culture is vibrant.
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Painting of Nañigo celebration in Cuba, 1878.
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Painting including an Ireme dancer (right) at aThree Kings Daycelebration in Havana.
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Painting of a "diablito" Ireme dancer in Cuba.
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Painting of an Ireme dancer in a ceremony in Cuba.
Spread to Florida
Cities with many
For Abakuá lodges to be formed, a structured initiation rite must be performed. This was difficult for immigrant Abakuá members to arrange who are estranged from established lodges in Cuba. For this reason, there is a debate as to whether the practices described as "Nañigo" were official Abakuá practices or simply imitations done by members estranged from official lodges. The term "Nañigo" was often used to describe any
No Abakuá lodges had been formed in Miami until 1998. When an Abakuá group declared its presence in Miami, Cuban Abakuá members denounced it because their lodge was not officially consecrated with the required sacred materials, which are found only in Cuba.[5]
Culture and practices
Membership
Members of this society came to be known as ñañigos, a word used to designate the street dancers of the society. The ñañigos, who were also called diablitos, were well known by the general population in Cuba through their participation in Carnival on the Day of the Three Kings. They would dance through the streets wearing their ceremonial outfit, a multi-colored checkerboard dress and a conical headpiece topped with tassels.[6]
The oaths of loyalty to the Abakuá society’s sacred objects, members, and secret knowledge taken by initiates are a lifelong pact that creates a sacred kinship among the members. The duties of an Abakuá member to his ritual brothers at times surpass even the responsibilities of friendship. The phrase "Friendship is one thing, and the Abakuá another" is often heard.[7] One of the oaths made during initiation is that one will not reveal the secrets of the Abakuá to non-members. The Abakuá have remained hermetic for more than 160 years.[8]
Ceremony
Besides acting as a mutual aid society, the Abakuá performs rituals and ceremonies, called plantes. These are full of theatricality and drama, and consist of drumming, dancing, and chanting in the secret Abakuá language. Knowledge of the chants is restricted to Abakuá members. Cuban scholars have long thought that the ceremonies express Abakuá cultural history.[9] Other ceremonies, such as initiations and funerals, are secret and occur in the sacred room of the Abakuá temple, called the famba.[10]
Music
The rhythmic dance music of the Abakuá combined with
Although hermetic and little known even within Cuba, an analysis of Cuban popular music recorded from the 1920s until the present reveals Abakuá influence in nearly every genre of Cuban popular music. Cuban musicians who are members of the Abakuá have continually documented key aspects of their society’s history in commercial recordings, usually in their secret Abakuá language. The Abakuá have commercially recorded actual chants of the society, believing that outsiders cannot interpret them. Because Abakuá represented a rebellious, even anti-colonial, aspect of Cuban culture, these secret recordings have been very popular.[11]
Dancers
Ireme is the Cuban term for the masked Abakuá dancer who is known as Idem or Ndem in the Cross River region. The masquerade dancer is carefully covered in a tight-fitting suit and hood, and dances with a broom and a staff. The broom serves to cleanse faithful members, while the staff chastises enemies and Abakuá traitors. During initiation ceremonies, the staff is called the Erí nBan nDó, while during mournings and wakes it is called AlanManguín Besuá.
Religion
Abakuá members derive their belief systems and traditional practices from the
Language
Due to the secrecy of the society, little is known of the Abakuá language. It is assumed to be a creolized version of Efik or Ibibio, both closely related languages or dialects from the Cross River region of Nigeria. This is the cultural region and ethnic groups where the society originated.
If the language is a creolized version of either Efik or Ibibio, it could be compared in purpose and in its formation and origins to other African languages, or specialized vocabularies derived from African languages, used in other
- Lucumí: a Yoruba-derived lexicon used as a ritual language in the Cuban Santería religion
- Iorubá/Nagô: another Yoruba-derived sacred language used in the liturgy of Brazilian Candomblé Ketu tradition
- Palo religionof Cuba and other Caribbean countries,
- Jamaican Maroonreligious ceremonies involving possession by ancestors, which grant the person they possess with the ability to speak the language
- Haitian Vodou Culture Language: specialized vocabulary derived from African languages used in Haitian Vodou
- Pala Wida: liturgical language used in Venezuelan Yuyu, derived from mostly Ewe, Kongo, and Creolized Spanish
Disambiguation
Abacuá also describes a group of
The Abakuá Afro-Latin Dance Company, a dance company based in New York City, draws its namesake from this origin. The purpose for selecting this name was to recognize the company's link to the origins of the type of music the company performs to. The company does not claim to be an authentic representation of the specific style native to Abakuá but rather, an amalgamation of movements native to Afro-Cuban/Caribbean culture and the development of the company's own unique style entitled Afro-Latin Funk. The selection of the name "Afro-Latin" was done in order to identify the company's presence within Latin and Hispanic culture as a whole.
See also
- Egbo
- Kromanti dance (religious)
- Antonio Maceo Grajales
- Santería
- Secret society
Notes
- ^ a b Anderson, Jeffery (1974). Hoodoo, Voodoo, and Conjure, A Handbook (PDF). Archived from the original (PDF) on 11 October 2021. Retrieved 31 March 2019.
- ^ a b Sosa, Enrique (1982). Los Ñáñigos. Havana: Ediciones Casa de las Américas.
- ^ "Religion in Cuba: Chango unchained". The Economist. 18 April 2015. Retrieved 25 April 2015.
- ^ Miller, Ivor. "A Secret Society Goes Public: The Relationship Between Abakua and Cuban Popular Culture". African Studies Review 43.1 (2000): 161.
- ^ a b Miller, Ivor (2014). Abakua Communities in Florida: Members of the Cuban Brotherhood in Exile (PDF).
- ^ Velez, Teresa Maria. Drumming for the Gods: The Life and Times of Felipe Garcia Villamil, Santero, Palero, and Abakua. Philadelphia: Temple University Press, 2000: 17.
- ^ Miller, “A Secret Society Goes Public", African Studies Review 43.1 (2000): 164.
- ^ Velez, Drumming for the Gods (2000): 23.
- ^ Miller, Ivor. “Cuban Abakuá Chants: Examining New Linguistic and Historical Evidence for the African Diaspora.” African Studies Review 48.1 (2005): 27.
- ^ Velez, Drumming for the Gods (2000): 18.
- ^ Miller, Ivor. "A Secret Society Goes Public", African Studies Review 43.1 (2000): 161.
- ^ "batadrums.com - Informationen zum Thema batadrums". ww1.batadrums.com. Retrieved 15 April 2019.
- ^ "RELIGION-CUBA: Afro-Cuban Brotherhood Vindicated". Inter Press Service News Agency. Retrieved 14 March 2019.
Further reading
- Aaron Myers (1999). "Abakuás". Africana: The Encyclopedia of the African and African American Experience. Basic Books. p. 2.
- Article on Cuban Abakuá music written by Dr Ivor Miller at lameca.org