Kristina Wirtz Ritual, Discourse, and Community in Cuban Santeria Speaking A Sacred World

ANTHROPOLOGY / RELIGION Wirtz Kristina Wirtz
Ritual, Discourse,
Santera practitioners in Cuba create and
Ritual, Discourse, and Community in Cuban Santera

maintain religious communities amidst tensions,
Kristina Wirtz is assistant professor In a brilliant creative leap Wirtz analyzes the ways boundary-
disagreements, and competition in the absence
of anthropology at Western Michigan making discourse (gossip, chitchat, fault-finding) maintains Santera of a centralized institutional authority. In Ritual,
and Community
University. communities that lack unifying social, racial, or ethnic characteristics. Discourse, and Community in Cuban Santera,
Mary Ann Clark, author of Where Men Are Wives and Mothers Rule: Kristina Wirtz examines the religious lives of
santeros in Santiago de Cuba, the second largest
Santera Ritual Practices and Their Gender Implications
city on the island. Wirtz argues that these religious
in Cuban Santera
Front cover: Procession through the neighborhoods
of Los Hoyos and Los Olmos for Santa Brbaras Day. communities are held together not because
Well-written and compelling in its argument. Ritual, Discourse, members agree on their interpretations of rituals
and Community in Cuban Santera avoids treating religion as some but precisely because they often disagree on the
privileged realm of the sacred that is separate from human struggles for issues. Her analysis opens a window into this
authority, prestige, and status. growing world religion.
In rich detail, Wirtz describes how ritual
Kelly E. Hayes, Indiana University-Purdue University, Indianapolis Speaking a Sacred W
orld events from divinations to possession trances
unfold and how practitioners reflect upon and
Contemporary evaluate their ritual experiences. Thus, religious
Cuba life is marked by a series of telling moments
the moments themselves and their narrated
representations as they are retold and mined for
religious meanings. Long after the moment occurs,
the spiritually elevated experience circulates as a
narrative, as gossip, and as other forms of public
commentary that may result in skepticism or
awe. Each retelling holds the promise of another
experience.
Drawing on ethnographic research about
Santera beliefs and practices, Wirtz observes that
University Press of Florida practitioners are constantly engaged in reflection
www.upf.com about what they and other practitioners are doing,
how the orichas (deities) have responded, and what
the consequences of their actions were or will be.
ISBN 978-0-8130-3064-7 Santeros re-create, moment to moment, what their
religion is. Wirtz also argues that Santera cannot
,!7IA8B3-adageh! UPF Contemporary be considered in isolation from the complex
religious landscape of contemporary Cuba, in
Cuba
which African-based traditions are viewed with a
mix of fascination, folkloric pride, and suspicion.
Ritual, Discourse, and Community in Cuban Santera
Contemporary Cuba
University Press of Florida

Florida A&M University, Tallahassee
Florida Atlantic University, Boca Raton
Florida Gulf Coast University, Ft. Myers
Florida International University, Miami
Florida State University, Tallahassee
New College of Florida, Sarasota
University of Central Florida, Orlando
University of Florida, Gainesville
University of North Florida, Jacksonville
University of South Florida, Tampa
University of West Florida, Pensacola
Contemporary Cuba
Edited by John M. Kirk
Afro-Cuban Voices: On Race and Identity in Contemporary Cuba, by Pedro Prez-Sarduy and
Jean Stubbs (2000)
Cuba, the United States, and the Helms-Burton Doctrine: International Reactions,
by Joaqun Roy (2000)
Cuba Today and Tomorrow: Reinventing Socialism, by Max Azicri (2000); first paperback
edition, 2001
Cubas Foreign Relations in a Post-Soviet World, by H. Michael Erisman (2000); first
paperback edition, 2002
Cubas Sugar Industry, by Jos Alvarez and Lzaro Pea Castellanos (2001)
Culture and the Cuban Revolution: Conversations in Havana, by John M. Kirk and
Leonardo Padura Fuentes (2001)
Looking at Cuba: Essays on Culture and Civil Society, by Rafael Hernndez, translated
by Dick Cluster (2003)
Santera Healing: A Journey into the Afro-Cuban World of Divinities, Spirits, and Sorcery,
by Johan Wedel (2004)
Cubas Agricultural Sector, by Jos Alvarez (2004)
Cuban Socialism in a New Century: Adversity, Survival and Renewal, edited
by Max Azicri and Elsie Deal (2004)
Cuba, the United States, and the PostCold War World: The International Dimensions of the
Washington-Havana Relationship, edited by Morris Morley and Chris McGillion (2005)
Redefining Cuban Foreign Policy: The Impact of the Special Period, edited
by H. Michael Erisman and John M. Kirk (2006)
Gender and Democracy in Cuba, by Ilja A. Luciak (2007)
Ritual, Discourse, and Community in Cuban Santera: Speaking a Sacred World,
by Kristina Wirtz (2007)
Ritual, Discourse, and Community
in Cuban Santera
Speaking a Sacred World
Kristina Wirtz

Gainesville Tallahassee Tampa Boca Raton
Pensacola Orlando Miami Jacksonville Ft. Myers Sarasota
Copyright 2007 by Kristina Wirtz
All rights reserved
Chapter 3 contains a revised version of Santera in Cuban National

Consciousness: A Religious Case of the Doble Moral. Journal of Latin American
Anthropology 9, no. 2 (Fall 2004): 40938.
Library of Congress Cataloging-in-Publication Data
Wirtz, Kristina.
Ritual, discourse, and community in Cuban Santera : speaking a sacred world /
Kristina Wirtz.
p. cm.(Contemporary Cuba)
Includes bibliographical references and index.
ISBN 978-0-8130-3064-7 (cloth)

ISBN 978-0-8130-3703-5 (e-book)
1. SanteriaCubaSantiago de CubaCase studies. 2. CommunitiesReligious

aspectsSanteriaCase studies. 3. Santiago de Cuba (Cuba)Religious life and
customsCase studies. I. Title.
BL2532.S3.W57 2007
299.6'7409729165dc22 2007004257
The University Press of Florida is the scholarly publishing agency for the State
University System of Florida, comprising Florida A&M University, Florida Atlantic
University, Florida Gulf Coast University, Florida International University, Florida
State University, New College of Florida, University of Central Florida, University
of Florida, University of North Florida, University of South Florida, and University
of West Florida.

15 Northwest 15th Street
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K ik m e padrino mo, Mo dp!
To Ed and Yasmin, with love

Contents
List of Illustrations viii

Preface ix
Ethnographic Prologue xvii
Acknowledgments xxi
A Note on the Text xxiii
1. Introduction: Telling Moments 1

Part I. Religious Histories
2. All the Priests in the House: Defining Santera 25
3. Competing Histories and Dueling Moralities 49
Part II. Religious Experience
4. From Skepticism to Faith: Narratives of Religious Experience 81
5. Skepticism in Faith: Evaluating Religious Experiences in Rituals 104
Part III. Religious Community
6. Respecting the Religion, Advancing in the Religion 135
7. Building a Moral Community out of Critique and Controversy 167
8. Conclusion: The Promise 198
Notes 209
References 229
Index 243
Illustrations
Figures
1. Map of Cuba xvii
2. Map of the city of Santiago de Cuba xviii
1.1. Human-divine kinship connections in Santera 16
1.2. Ritual kinship connections in Santera 16
2.1. Altar to a muerto 32
2.2. Altar to San Lzaro 33
2.3. Spiritist altar of a santera 37
2.4. Altar to a santeras africanos 37
2.5. Casita of the oricha Eleggua 38
2.6. A muertera gives a client a consulta 39
2.7. Altar to the orichas 40
2.8. A muerteras altar, with Spiritist and Palo elements 43
3.1. Procession for Santa Brbaras Day 56
3.2. The procession greets Chang 57
3.3. Portraits of Reynerio Prez and his wife, carried in procession 57
4.1. Possibilities for divine communication in Afro-Cuban religions 100
5.1. Ritual participants dance the aro de Yemay 114
5.2. A santero falls into trance 115
5.3. The lead singer encourages possession trance 116
5.4. Yemay greets the drums 118
5.5. Yemay speaks with another ritual participant 119
6.1. Human questions and divine responses 153
6.2. Chain of mediated communication in a divination 162
7.1. Ritual hierarchy in Santera 174
7.2. It divination as commentary on ritual and non-ritual events 196
8.1. Tropicana dancers create a living altar to Ochn 207
Table
2.1. Overview of Major Religious Traditions in Cuba 31
Preface
In this book I revisit an enduring question of anthropology: how do commu-

nities coalesce and persist through time? I pose this question about a specific
community of religious practitioners of Santera that I came to know through
my fieldwork in the city of Santiago de Cuba in eastern Cuba. Santera is one of
several often-overlapping popular religions practiced in Santiago de Cuba, and
many religious practitioners combine practices or seek expert services from
what scholars represent as ostensibly distinct religious traditions, such as Palo
Mayombe, Spiritism, Santera, and even Muertera. Even among those who
have been initiated as priests in Santera, different ritual lineages may have
distinct traditionsthe best known and most visible such distinction separates
santeros (priests of Ocha) and babalawos (priests of If), although some babala-
wos are also initiated santeros.
These introductory observations suggest the need to demonstrate, rather
than assume, the existence and composition of a local religious community of
Santera. They also raise questions about how such a community differentiates
itself amid the bustle of religious activity and how it regulates its membership
by managing relationships acrossas well as withincertain ritually estab-
lished lineages of fictive and genealogical kinship. This issue of how intergroup
boundaries of identity are maintained was articulated by Fredrik Barth (1969)
in a classic essay on how ethnic groups constitute and maintain themselves. In
Santera, no ethnic distinctions are available to naturalize religious community
belonging, although Cuban histories of race and its internal differentiations
into African naciones (ethnicities) during the centuries of Atlantic World slav-
ery permeate local understandings of Santera and other popular religions, al-
beit in what Stephen Palmi aptly characterizes as complex and ill-understood
ways (2002b: 197). Santera, for example, clearly derives from what today is
known as Yoruba tradition, recreated in Cuba by enslaved West Africans from
the region of modern-day southwestern Nigeria and Benin. Santeras modern-
day practitioners in Cuba, however, span all racial and other social categories.
Without clear racial/ethnic distinctions, and without clear-cut differences in
x Preface
religious practices, how do some practitioners create and recognize links of

religious community with one another? As Barth suggests for ethnic groups,
processes of competition, cooperation, and what I call discursive polarization
among various religious traditions also contribute to maintaining distinctions
among religious communities-of-practice. Palmi, for example, discusses how
Cuban popular religions are arrayed along a racially polarized moral spectrum,
in which Yoruba-derived Santera is juxtaposed as a proper, moral, Christian-
influenced religion to the amoral, even exploitative black magic of the Reglas
de Congo like Palo Mayombe (2002b: 189200; see also Argyriadis 2000). I
aim to show how such distinctions around Santera are maintained through a
variety of historical and contemporary discourses.
Such boundary-making discourses interact with ritual practices to create
distinctions among what emerge as different religious traditions. They also
generate distinctions between religious and nonreligious domains of social
life. It is crucial to recognize that what a particular religion iswhether in
fact there is agreement that a certain set of practices and practitioners consti-
tutes a religiondepends upon observers perspectives. Consider Santera:
even using this name over other available labels involves ideologically charged
choices. To call this entity Lucum religion, or La Regla de Ocha, or even
just La Ocha, let alone referring to it as witchcraft, or an Afro-Cuban popu-
lar religion, or folklore, or superstitious nonsense (all of which are circulating
labels in contemporary Cuba) would signal different directions a book such as
this could take and distinct, even irreconcilably different, visions of the topic.
By making a choice among these interpretive or metacultural frames (Urban
2001), I necessarily essentialize the cultural phenomenon that interests me as
a particular kind of entity. Those who come into contact with Santera by any
namepractitioners, their neighbors and compatriots, government officials,
Cuban folklorists, and not least, ethnographersconstrue it through particu-
lar and varied metacultural stances toward religion, various ritual practices,
things Afro-Cuban, and so forth. Indeed, as Briggs (1996) points out, since
some of these actors have more discursive authority than others, some labels
(Santera for example) circulate more widely than others (Regla de Ocha,
as practitioners prefer). If the predominant opinion is that a social and cultural
(that is, discursive) entity called Santera is a religion, then how did this come
to be so, and what is the significance of alternative perspectives that continue
to circulate?
This book is an attempt to not only avoid presenting an essentialized, nor-
mative vision of the religion, but to focus attention on the interpretive process-
Preface xi
es by which different essentializations, such as those listed above, emerge. My

particular interest is in how religious practitioners themselves, through their
often conflictual discursive activity, continually bring into being something
they largely can agree is Santera. Their vision of Santera bumps up against
other construals from other secular and religious vantage points, and out of
the ongoing mlange, something called Santera takes shape, like smoke that
seems solid from a distance but resolves into plumes of dancing particles when
viewed closely.
Smoke metaphors aside, I have come to see that the dominant trope per-
meating my analysis is one of an almost Darwinian landscape, his entangled
bank of competing views (Darwin 1964: 489), in what Susan Philips (2004),
perhaps channeling Gregory Bateson, describes as a sort of ecological system
of ideologies or interpretive frames, in which each strand has its own niche
practices, attitudes, identities, relationships, and institutions that sustain it
and multiple ideologies or frames can coexist, even find points of convergence,
even though they may also put pressure on one another. Such systems are dy-
namic, but not necessarily shifting in any inexorable direction (for example,
toward secular modernism). The ecological trope undoubtedly holds a certain
attraction for me because of my prior training in ecology and evolutionary
theory, but it is also a productive alternative to accounts of competing ideolo-
gies based on either Marxist models of domination and resistance or cultural
flow models of globalization, as Philips argues (23233). Interestingly, Barth
(1969) also employs an ecological metaphor to describe the dynamics of com-
petition, borrowing, and interdependence that sustain group boundaries in
poly-ethnic societies, an idea that resonates with analyses of complex poly-
religious ecologies in the Caribbean, such as Houks account of Trinidad
(1995) Austin-Broos account of Jamaica (1997) and Palmis account of Cuba
(2002b). Most importantly, however, the ecological trope expresses my obser-
vations about how discursive dynamics construct social realities. At the macro-
social level, competing discourses (in the broad, Foucauldian sense) clash over
the meaning and role of Santera in national life, and at the microsocial level of
daily interactions among religious practitioners similar debates over what con-
stitutes correct and proper religious practice hammer out a local community,
one I will argue is united as much by conflict as by consensus. As Comaroff
and Comaroff (1993: xxiii) suggest, rituals may serve to open up fields of argu-
ment, in which conflicting viewpoints are brought into dialogue.1
The ecological metaphors underlying how I characterize these dynamics fit
with what has been called a constructionist viewpoint on social entities such
xii Preface
as religions and communities. Kay Warren (1992) argues for a construction-

ist alternative to essentialized identities, which do not exist except as [they]
are constructed, contested, negotiated, imposed, imputed, resisted, and rede-
fined in action (205). Although she is describing Mayan and Ladino identities
in Guatemala, her description fits my argument about Cuban Santera. This
brand of constructionism, then, takes a dialogical view of culture that is based
on semiotic understandings of how cultural forms and categories get created,
circulated, replicated, and modified across all sorts of human interactions. As
Tedlock and Mannheim argue in their introduction to The Dialogic Emergence
of Culture (1995: 132), the seeming cultural totalities we experience as a sort
of gestalt are in fact comprised of circulating signs that are mediated by, and in
turn mediate, interactions among people. In order to understand the semiotic
mediation of cultural forms and social realities, I thus employ methods and
analytical perspectives developed within the ethnography of communication
and more recent semiotic and discourse-centered approaches, which in turn
are chiefly inspired by C. S. Peirce, Mikhail Bakhtin and Valentin Voloshinov,
Romn Jakobson, and Erving Goffman.2 I discuss and illustrate discourse-
centered analysis in chapter 1.
This ethnography of religious community thus pays particular attention to
practitioners ritual and other discursive practices and how these both cre-
ate and reflect their understandings of religious experience, consciousness of
belonging to a community, and position within the broader religious and so-
ciohistorical context. Exploring how santeros local moral community emerges
out of the ritual and interpretive practices of its members raises a set of im-
portant issues. First and foremost: what is community, and how is it best
characterized? In particular, is community necessarily predicated upon com-
monality, or is there room within community for what Iris Young (1986) calls
a politics of difference? What allows an ethnographer or, for that matter,
anyone in a given society, to recognize a religious community or even a religion
as a distinct social entity? As a related issue, how can such social entities be de-
scribed without being essentialized? That is, how do we capture the discursive
processes as well as the real (tangible, seemingly self-evident) social entities
and identities such processes precipitate? And finally, what role do rituals play
in generating community, and what other activities might also contribute? In
the pages that follow I seek to juxtapose these questions in a way that points to
some surprising conclusions about the dynamics of religious community and
ritual life among santeros.
One comment on my community terminology: I have come to prefer
Preface xiii
thinking of santeros religious community as a moral community (and indeed

I use the phrases almost interchangeably). Durkheim (1995/1912) used moral
community in a broader sense to apply to religions role in cementing social
cohesion in an entire small-scale society. I instead adopt it to refer to a local
religious community because the phrase evokes shared concern over religious
propriety rather than shared belief. As I will explore throughout the book,
santeros hold much in common with other Cuban religious practitioners and
at the same time find plenty to disagree about among themselves; it is not
shared belief that unites and distinguishes santeros so much as participation
in a common dialogue about correct practice and interpretation.
In all honesty, I did not begin my fieldwork among santeros in Santiago de
Cuba with the plan of investigating how their religious community is consti-
tuted. Rather, I did what it seems most ethnographers of religious communities
tend to do without much comment: I assumed that the community of local
Santera practitioners would become self-evident as I became familiar with
my research setting. I took it for granted that ritual events would most clear-
ly embody the religious community and that the structures of ritual lineage
produced and reinforced through ritual activities would unproblematically
indicate to me who the communitys members were. My plan was to attend
rituals and follow up on ritual genealogies in order to map out the community
and locate those whose experiences and expertise could answer my questions.
Identifying the community was not originally an end in itself, but simply a
step along the way to my research objectives. Based on my prior reading of the
normative accounts of Santera rituals and beliefs that prevail in the literature,
I fully expected that a relatively consistent image of Santera would emerge out
of explanations provided by the practitioners I worked with. In short, I naively
hoped to land in a community, establish rapport with its members, and get
on with learning about what I had come to learn: Santeras ritual language. In
large part, this is what happened, or at least what felt like it was happening. The
moral community of Santera felt very real to me, and it became ever more tan-
gible and all-encompassing as I delved deeper into the religion, even though I
retained my marginal position as an uninitiated outsider.
What I came to realize (and what this book is about) is that Santeras moral
community felt most real, most present, and most powerful to me when en-
acted in the dense, ever-present interchange of conversation, gossip, planning,
reports, complaints, and critiques that comprise practitioners reflective dis-
course about their religion and specifically about rituals they had attended,
were planning, and were currently participating in. At first, this background
xiv Preface
chatter of conversation was so ordinary as to be almost invisible to me, serv-

ing simply as the context in which rituals stood out as specially framed, even
momentous events. Everyday, naturally occurring discourse, as it is called by
discourse-centered theorists, was there to be observed, recorded, and mined
for data. However, the background gradually became foreground, as I increas-
ingly recognized this realm of ordinary reflective discourse as the real social
glue of communal religious life, the force that organized rituals and the way in
which the meanings of specific ritual performances were negotiated and woven
together into often competing metanarratives of what it meant to be a santero
and what the religion itself stood for. While santeros themselves character-
ized their religious community as being structured by ritually cemented ties of
ritual kinship with one another, the ancestors, and the orichas (deities), their
discursive activity suggested to me that what enmeshed otherwise distinct, of-
ten competing ritual lineages into a cohesive and distinctive moral community
was, paradoxically, the often conflictual discourse surrounding, and indeed
frequently provoked by, rituals.
Durkheim long ago emphasized the critical role of rituals in bringing people
together around symbols of communality and of religion itself as a shared sec-
ond-order interpretation of the experience of societys power over the individ-
ual (Durkheim 1995/1912). My analysis displaces the central role scholars since
Durkheim continue to grant rituals in themselves to instead shift attention
to the reflective discourse rituals generate as the principal dynamic through
which community is reproduced and through which communities manage
and police themselves. This book illustrates how a local religious community
of Santera takes shape primarily through the critiques, discussions, and con-
troversies surrounding religious rituals. That is, rituals provide the fodder for
reflective discourse through which individual and collective religious under-
standings are negotiated and local notions and perceptions of community are
generated.
Recent critiques of the community concept have pointed out a common
assumption that community, however it is imagined or represented, is an
idealized site of homogeneity and consensus (Creed 2004; Kelly and Kaplan
2001). Such romantic notions of community do not correspond to the everyday
experience of social life, which is often rife with conflicts and differences. Nor
does idealized community sit well with post-structuralist analyses of how the
workings of power can be disguised by projecting the appearance of homoge-
neity and consensus. Such projections cast conflict as dangerous to communi-
ty, unless it is a conflict with outsiders around which members of a community
Preface xv
can rally, and even then the goal is to bury internal differences under common
cause.
I instead suggest that intracommunity conflict, rather than always and ev-
erywhere being antithetical to community-building, might sometimes con-
stitute community. This happens when conflict increases the density of cir-
culating discourse that links participants to one another and highlights an
ontological common ground within disagreements. Among santeros in San-
tiago, this dynamic is most visible in how santeros reflect upon and interpret
ritual performances, and so I carefully attend to what it is in ritual perfor-
mances that so grabs santeros attention and provokes so much reflection. One
key role of rituals in Santera is to allow communication with the divine, and
it turns out that santeros are preoccupied with evaluating whether particular
ritual performances indeed achieved this sort of religious experience. Santeros
bring a skeptical eye to bear on the minutest details of ritual preparations, par-
ticipation, and even motives of their fellow participants. They are passionately
concerned with correct, proper, and respectful religious practices, even
though they sometimes equally passionately disagree about whether specific
instances were correct, proper, and respectful. Such judgments, in turn, affect
whether a particular ritual is deemed successful, whether advice received in
a divination is heeded as having divine origin, or whether a relationship with
another religious practitioner or lineage is pursued or dropped. That is, all
of the gossip, critique, and controversy allows santeros, individually and col-
lectively, to decide whether and how to interpret rituals and other events as
religious experiences, and with what repercussions. The local community that
encompasses at least some santeros (and others) some of the time, and that
has a certain historical continuity through several generations of particular
families and neighborhoods, is, I will argue, a by-product of these reflective
activities. That is, the local Santera community resolves itself out of fleeting
traces of face-to-face interactions, like bouncing particles of smoke seen from
a distance.
I have described my major goal as challenging a tendency for ethnographic
studies of religious communities, in particular, to take for granted their bound-
aries, shared tradition, and unity of purpose. I instead ask how such seemingly
empirical realities emerge out of the ferment of debate over the meaning of
ritual experiences. This question compells attention to the fine-grained detail
of real-time, unfolding events and face-to-face human interactions in all of
the messiness of the micropolitics of everyday life and the fluid, emergent,
not-quite-in-focus understandings participants seem always just on the verge
xvi Preface
of reaching. Out of this ephemeral stuff, santeros render their religion mean-
ingful and their community real.
With all of this constructionist talk, I hasten to add that there is a there
there. Santera has recognizable and distinctive forms: rituals, jargon, priestly
hierarchies, and historical lineages reaching back at least a hundred years, with
clear antecedents in Cuba and beyond, notably among West Africans today
known as the Yoruba. This book pays special attention to these cultural ele-
ments, too, and especially to how santeros invoke them to generate phenom-
enological experiences of the sacred. But again, my focus is not on describing
the cultural objects-in-themselves (which so many books on Santera already
do), but on how their reality, their distinctiveness, their persistence, and their
tangible effects on peoples lives emerge out of the ferment of discursive activ-
ity about what santeros are engaged in. I tell a tale of intrigue, of skepticism,
controversy, and gossip, out of which, paradoxically, emerge faith, moral com-
munity, and numinous experience. I tell a tale of speaking the sacred.
Ethnographic Prologue
Field site overview

I worked with santeros in the eastern Cuban city of Santiago de Cuba (see fig-
ure 1), where I engaged in participant observation during four visits to the city,
totalling a year, and including an extended stay of eight months from Septem-
ber 1999 through May 2000. My first visit was in December 1997, and my most
recent visit was in April 2002. My fieldwork brought me into extensive contact
with religious practitioners of Santera and with Cuban folklorists, both re-
searchers and performers. I worked especially closely with several individuals
who are both religious practitioners and researchers.
Santiago de Cuba sometimes strikes Cubanists and Cuban scholars as an
odd choice of fieldsite for someone studying Santera, because Havanas work-
ing class Regla and Guanabacoa neighborhoods and the nearby city of Matan-
zas are the accepted birthplaces of Santera. It is true that most foreign schol-
ars base themselves in Havana, which is not surprising given that Havana, as
the capital, is (and has always been) the political and cultural center of gravity
on the island. Likewise, Havana-based Cuban scholars and academic institu-
Figure 1. Map of Cuba showing Santiago de Cubas location. Adaptation by Pamela Rups, Western
Michigan University, from Maps on File (New York: Facts on File, Inc., 2000).
Figure 2. Map of the city of Santiago de Cuba showing principal neighborhoods in which field-
work was conducted. Adaptation by Pamela Rups, Western Michigan University, from Map of
Santiago de Cuba, (Cuba: Ediciones GEO, 1999).
Ethnographic Prologue xix
tions garner more prestige and resources than do those in the provinces. But
I see this as all the more reason to encourage ethnographic work in the rest of
Cuba, so as to counter prevailing Havana-centric tendencies. From Havanas
point of view, Santiago is very provincial, although it is the second largest city
on the island with a population of 478,000.3 Doing fieldwork on Santera in
Santiago thus gives me a very different view from the religious and political
margins, amid the dominant voices of Havana-based scholarship.
What is fascinating about Santiago is that its vibrant Santera community is
relatively new, by most accounts dating only to the 1930s, and santeros in San-
tiago are very aware of its relative newness. Unlike Havana and Matanzas, San-
tiago has few babalawos, high priests of If divination, and its Santera commu-
nity has relatively less visibility and more competition amidst the numerous,
self-styled santeros who practice related popular religions. At the same time,
Santiago is a much more Afro-Cuban city, and, despite its proud history as the
cradle of revolutions and revolts, is far from the center of political power.
Although Santiago has hundreds of initiates in Santera, I was able to de-
velop a general sense of the Santera community and its power centers, major
personalities, fault lines, and oral history, as well as how Santera fits into the
Cuban religious mosaic. I also developed strong ties with several ritual families
and lineages and thus was able to participate in numerous and varied rituals
and in-depth conversations and interviews. Despite the famed secrecy shield-
ing much ritual activity, I was allowed access to a number of private rituals. I
also found that there was an abundance of public rituals and talk about rituals
available to a noninitiate.
My fieldwork took me into many neighborhoods of the city, and especially
into the traditionally Afro-Cuban areas of Los Hoyos and San Pedrito and
other neighborhoods to the north of the historic city center, or casco histrico.
I also found myself in the newer neighborhoods of the Distrito Jos Mart and
Nueva Vista Alegre, further west of San Pedrito. I have labeled the neighbor-
hoods in which I conducted fieldwork with santeros in figure 2.
Methods
I did much of my fieldwork in the company of a few key field consultants who
were both santeros and folklorists. They gave me entre into events and intro-
duced me to many other santeros. The benefits of working closely with key
consultants were that we developed a strong working relationship over several
years and that these expert consultants gave me in-depth tutorials on various
xx Ethnographic Prologue
topics. I also sought to branch out and meet other religious practitioners inde-
pendently of my key consultants, especially by following up on a wide variety
of other contacts and invitations, in order to achieve a more representative
view of the local religious scene.
The principal types of ethnographic data I collected were ritual events, natu-
rally occurring conversations, and interviews.4 In addition to writing field-
notes, I also made extensive audio recordings and, when able, videorecordings,
of many events in which I participated.5 I also recorded elicited and naturally
occurring autobiographical narratives of religious participants, normative ac-
counts of how to conduct rituals correctly, evaluations of particular rituals,
and discourse concerning religion, identity, religious adherence, and types of
religious participants. Some of these discourse events occurred in the course
of informal visiting or during ritual proceedings. In other cases, I conducted
semiformal interviews, played back ritual recordings or discussed field notes,
or received classes (privately or with others) from secular and religiously in-
volved folklorists who study religion.
It was in comparing how highly educated folklorists and younger santeros
talked about Santera versus what older santeros had to say that I first glimpsed
some of the ideological buttresses behind typical and often-repeated depictions
of Santera. As I listened to more people, including Christian and nonreligious
Cubans whose views on Santera presented additional facets, I came to detect
certain fault lines in who would be referred to as a santero and in what alter-
natives santeros and Santera were collocated with or contrasted to. Patterns
emerged in which labels were used, who used them, and whether Santera
was described as Cuban or Afro-Cuban, religion or witchcraft, syncret-
ic, popular, or Yorubamy scare quotes here indicate how ideologically
charged these labels all are. Amid these competing visions of Santera, santeros
navigated their religious lives and negotiated the membership, boundaries, and
norms of their moral community.
Acknowledgments
I am humbled by how many people contributed to making this book possible

and only hope they can forgive me the errors that surely remain. Ethnographic
research is above all a highly collaborative and cooperative enterprise that de-
pends upon the goodwill of those whose home becomes ones field site. First
and foremost I thank my hosts, consultants, and teachers in Santiago de Cuba
for their tremendous support and forbearance: particular thanks to Ernesto
Armin Linares; Maruchi Berbes and her household; Abelardo Larduet; Tere-
sita Reyes Guerrero and her husband Carlos, mother Ena, and sons Karel and
Carlitn; Veronica Gebra Nash and Jos Alberto Aguilera, their son Guillermo
and granddaughter Loreta Aguilera; Kathy, Marta, and Manuel Prez; Merce-
ditas Causse Cathcart; Olga Portuondo Ziga; Rafael Soler (now tragically
deceased); Miguel Matute; Reina Hechavarra; Ana Mara Fernndez de Hi-
erreguelo; Nurina Salas Ribero; and Carlos Labrada. Marisela and two other
friends who will remain anonymous were dedicated and meticulous transcrib-
ers. Warm thanks also to the members of the Conjuncto Folklrico Cutumba
and bobo iworo coggua ilall the santeros and other religious practitioners
of Santiago who helped me and tolerated my research, and so many of whose
stories are retold anonymously in these pages. K ik m e! (May death spare
you!) All of these people, their lovely families, and so many others unnamed
here, helped make Santiago home for me and my husband and enveloped us in
the bonds of socio-lismo (camaraderie) that sustained us through many trials
and tribulations. In addition, I thank a number of Habaneros, and especially
Manuel Agustn Garca, Sergio Valds Bernal, and Jorge Ramrez Calzadilla of
the Centro de Investigaciones Psicolgicas y Sociolgicas, which generously
allowed me access to its wonderful library. I am also profoundly grateful to the
institutions and talented staff of the Universidad del Oriente, the Casa del Ca-
ribe, and the Casa de Africa in Santiago, which provided me with institutional
homes and intellectual communities during my research trips, and I applaud
xxii Acknowledgments
their openness to foreigners and U.S. citizens, particularly in the face of an

unjust and cruel U.S. embargo.
I must thank the highly effective, long-term moral community of my writ-
ing group, whose incisive feedback on various drafts challenged me and kept
me honest, and whose own incredible scholarship gave me so much food for
thought: Cati Coe, Jane Cowley, Hilary Parsons Dick, Clare Ignatowski, Yoon-
hee Kang, Catherine Newling, and Lorrin Thomas. Matt Tomlinson and Trev-
or Stack helped from afar, and many other friends at Penn helped me clarify
my thinking over the years. My dissertation advisor and committee were true
mentors, and the stamp of each ones highly original thinking is everywhere in
my work: heartfelt gratitude to Greg Urban, Asif Agha, Sandra Barnes, Nancy
Farriss, and Rebecca Huss-Ashmore, as well as to my informal mentors, Stan-
ton Wortham and Lee Cassanelli. Yiwla Awoyale patiently turned his expert
ear to deciphering possible Yoruba derivations in my Cuban Lucum texts. The
faculty of the African and Asian Studies Department of the University of Lagos
taught me as much Yoruba as they could during my summer in Lagos. Norman
Whitten provided valuable advice about getting several chapters into shape for
publication. My colleagues at Western Michigan University have been wonder-
fully supportive during the revision process. Many thanks to the University
Press of Florida, especially to John Byram for encouraging me to publish this
book, and to my acquisitions editor Amy Gorelick and two anonymous review-
ers for support and constructive critique.
This research was funded by a Brody-Foley Grant for summer research from
the University of Pennsylvania, an International Predissertation Training Fel-
lowship from the Social Science Research Council and the American Council
of Learned Societies with funds provided by the Ford Foundation, and two U.S.
Department of Education Foreign Language and Area Studies Fellowships.
A Note on the Text
Several linguistic codes are relevant to this examination of Santera in Cuba.

First, Spanish (Castellano) is the language of Cuba and therefore of most of my
fieldwork. Santeras ritual register, most often called Lucum, derives from
the West African language called Yoruba. In some rituals, a nonstandard va-
riety of Spanish that Cubans call bozal is also used. For ease of reading, I
represent bozal and Lucum in standard Spanish orthography, except when my
field consultants representations of Lucum words parted from standard Span-
ish. For example, I represent [w] in [agwa] as agua (water) in Spanish but as
awa (we) in Lucum. When all of these codes appear and I need to distinguish
among them, I label Lucum phrases with underlining and bozal phrases with
an asterisk at the end. Readers familiar with Spanish will also recognize er-
rors of grammar and eye-dialect that I use to capture pronunciation differ-
ences that differentiate bozal from standard Spanish.
In cases where a putative Yoruba derivation of a Lucum term is noted, I use
standard Yoruba orthography. Yoruba vowels are similar to Spanish vowels,
except that is pronounced eh as in English egg and is pronounced aw
as in English all. Yoruba is pronounced sh (which is usually assimilated
to Spanish ch in Lucum). Note that Yoruba has three tone phonemes, so ac-
cent marks that indicate stress in Spanish and Lucum words (like Lucum)
instead indicate high or low tone in Yoruba words.
The English translations I provide in longer transcript excerpts sometimes
retain Lucum words (underlined) because they were unintelligible to my field
consultants and to me. When I wish to distinguish between what my field con-
sultants understood of a Lucum utterance and what I learned it to mean in
broader context, I place my consultants gloss in quotes and my gloss in paren-
theses.
Even in cases like quoted interview excerpts where the original utterance
was in unproblematic standard Cuban Spanish and only the English transla-
tion is presented in the text, I always provide the original in an endnote. This
xxiv A Note on the Text
is a compromise between my goal of providing thorough linguistic evidence of

my interpretations, as befits a linguistic anthropologist, and my desire to keep
the text as readable as possible.
I have also tried to strike a balance in my transcription conventions between
providing the necessary information and keeping transcripts readable. I use
the following conventions whenever I deem the information they code to be
relevant to my analysis or the readers ability to evaluate my analysis:
Word . word A period separated on either side by a space denotes a single

beat pause or hesitation in an utterance that does not corre-
spond to normal phrasing indicated by standard punctuation.
Word .. word Two periods separated on either side by a space denote a
double beat pause or hesitation in an utterance. In like man-
ner, three periods indicates a triple-beat pause. Longer pauses
are marked by duration (for example, 1 second).
A: [speaks
B: [speaks Lined up square brackets indicate overlapping speech.
A: speaks
B: speaks Em dashes indicate no break between utterances.
A: speaks- A hyphen indicates an incomplete utterance or false start.
Wo:rd Colon following a vowel indicates prolonged vowel, as in
wooord.
Word Bold type indicates emphasis, unless otherwise noted.
/ // / Slashes indicate finger-tapping on a table by the speaker.
1
Introduction
Telling Moments
In this book I seek to describe the textures of religious life that generate com-
munity among practitioners of Santera in Santiago de Cuba. In doing so, I wish
to show how santeros (initiated practitioners) ritual and reflective practices
produce a shared set of religious experiences and a distinct moral community.
Religious life, as I experienced it in my admittedly agnostic but open-minded
role as ethnographer, is marked by a series of telling moments. By telling mo-
ments I mean both noteworthy moments themselves and their narrated rep-
resentations as they are retold and mined for religious meanings. Numinous
experiences, it seems, continue to circulate in narratives that may express awe
and hold out the promise of more such experiences, as in the words with which
one santero began to recount a telling moment to me:
I have [had] incredible experiences in the saint. Thats why I believe
so much in my saint. And I have so much respect, because these are
experiences one has had. It seems like a lie, it seems like one of Aladdins
tales.1
Practitioners do not simply engage in ritual practices that produce religious
experiences by some automatic, invisible mechanism. Upon closer inspection
(and not surprisingly), they are constantly engaged in reflection about what
they and other practitioners are doing, about how the orichas (deities) might
respond, and about what the consequences of their actions will be or were.
Much of this reflection enters into circulation, whether as private or public
discourse, as santeros evaluate, critique, compare, commemorate, condemn,
or celebrate particular events, be they ritual moments or other religiously sig-
nificant events.
Consider the santero who blamed a bad divination sign on his ritual godfa-
thers earlier mistake. His godfather had tried to save money by purchasing one
2 Ritual, Discourse, and Community in Cuban Santera
sheep to offer to two orichas. When the sheep died before it could be properly
sacrificed, those present in the ceremony confirmed that the godfather had
made a mistake. When, later in the ritual, the godchildcall him Emiliore-
ceived a dire warning in divination, he came to interpret the warning as a
consequence of the orichas ire at his godfathera case of the (god)fathers sins
being visited upon the (god)son.2
By focusing their reflective attention on particular events, santeros render
them telling momentsmoments that reveal something about causality and
about whether or not the sacred is present, and why. Such moments get repre-
sented in discourse as narratives that, as I will show, can be embedded in many
other types of activities, circulate across many contexts, and serve many pur-
poses. This particular event was related to me several years after it occurred, in
a context I will more fully describe later in the chapter.
In a sense, such reflective discourse is simply one particular cultural mani-
festation of Webers two religious problems of meaning, which Parsons para-
phrases as human frustration over events we cannot control and our corre-
sponding lack of certainty that our endeavors will be successful (Parsons 1979:
6263; Weber 1963/1922: 13850). Webers corollary, the question of theodicy,
poses the ultimate test of faith: if there is/are divine power(s), why do bad
things still happen to good people? In practice, religious adherents also pose
the practical question: what can I do to impose order on events? Santeros
answers to these basic religious questions vary with the situation, but usually
invoke central ideas such as respect for the religious code, called the Regla
(Law), and strict adherence to correct ritual procedure, topics that saturate
even ordinary conversations among santeros.
For example, a decade after the event, Emilio still told the story of his god-
fathers error. He would emphasize that the sheep died dramatically, dropping
stone dead at the threshold of the room where it was to be sacrificed. As a
result, someone had to rush out to buy two more sheep so that the ceremony
could continue. Instead of saving money as intended, the error cost him an
extra sheep. Each time he repeated the story, Emilio would conclude that the
saints are blunt in reinforcing their Regla.
Ritual performances and events of everyday lifeboth the extraordinary
and the mundaneprovide the experiences that become the fodder for reflec-
tion, and such reflection frequently enters into discourse. For example, sante-
ros weave telling moments into long-term and often stable narratives about
themselves, their beliefs, and their moral community. These narratives serve
as one important form of data for describing what it means to be a practitioner
Introduction: Telling Moments 3
of Santera and to participate in local religious life. Whether such narratives

are told as entire, complete autobiographical stories or whether they are more
briefly referenced in the course of other kinds of discourse, the characters that
populate them (and their relationship to those present at the telling) also trace
the outlinesthe inclusions and exclusionsof a local religious community,
past, present, and future.
For example, Emilio shared many such stories with me as moral parables
from which I should learn as I, too, entered into the religion. On other oc-
casions I heard him refer to these stories to variously teach other neophytes,
reinforce ties with some interlocutors, and even imply that others, usually not
present, should be sanctioned for their breaches of religious propriety.
I have referred to the reflective function of such discourse, but the commu-
nity of santeros is no idealized contemplative order: santeros express as much
skepticism as faith in their narratives. One paradox is that the skepticism and
mutual suspiciousness so characteristic of santeros interpretations of puta-
tively sacred events nonetheless serve as a focal point for delineating a moral
community of Santera.
One occasion on which Emilio repeated his story to me was when he was
in the midst of critiquing another santero, Roberto, whose ceremony we had
attended together. He cataloged the many ritual errors Roberto had made, im-
puting a crass motive of saving money at the expense of showing respect for
the saints. He expressed his surprise that the divination results that day had
all been positive, then told the story of his godfathers mistake to illustrate that
what goes around comes around. Sooner or later, Roberto would be called to
task for flouting the Regla. Until then, I should be wary of his motives. Emilio
also made a point of repeating his critique of Robertos shoddy performance
for several other santeros in his own ritual lineage, who would invariably shake
their heads and bemoan the crass commercialism into which their religion was
sinking. Together, through the story of the other santero, they reaffirmed their
own commitment to respecting the religion.
It is through the retelling of telling momentsthe debate over the occur-
rence and meaning of ineffable experiencesthat the moral community of
Santera emerges. In the very process of disagreeing, of offering contradictory
readings of what experiences mean, santeros construct individual and collec-
tive religious understandings that recreate, moment to moment, what their
religion is.
We more typically look to rituals to serve as the glue of communal solidarity
and shared meanings, and indeed they do at least in part serve these functions
in Santera. But I suggest that santeros apparently skeptical and divisive reflec-
tive discourses also serve as a sort of communal glue, insofar as such discourses
envelope interlocutors in dense networks of speech chains (to use Asif Aghas
term [2003]) about religious matters, and insofar as santeros who participate in
these speech chains agree to disagree with reference to a common sacred ori-
entation. Thus, the skepticism of santeros is of a different epistemological order
than secular skepticism about Santera, which throws into question the entire
religious enterprise. Instead, santeros skepticismindeed, their overall ten-
dency toward reflection and retellingis the process by which they construe
some experiences as religious and construct their religion itself as a tangible
moral force.
In the ceremony Emilio critiqued, a young man was initiated as a santero.
After the divination ceremony, the young initiate told me, with tears in his eyes,
how incredibly moved he was by the divination results, which had revealed
things he knew to be true. He attested that Roberto could not have known the
private details the divination revealed, so clearly the saints had spoken directly
to him. Meanwhile, Emilio later gave a devastating analysis of that very same
divination, arguing that Roberto had used the divination, consciously or not,
to produce results based on his own beliefs. Emilio thus implied that the saints
had not spoken at all!
Emilio, Roberto, the new initiate, and I myself were all interconnected not
just because of having attended the same ritual event, but perhaps more impor-
tantly because we continued to interact and discuss the ritual long after it had
ended, seeking to interpret what had happened. The ritual lived on in our re-
tellings, as did we, not only as narrators and audience, but as figures populating
our firsthand accounts, in spite of the fact that each of our retellings might con-
flict with the versions told by others. Was the divination a profoundly moving
experience of divine omniscience or an error-ridden fraud? The ritual event
even came to have importance to people who had not been present for it, in
the case of others who heard Emilios account of Robertos errors. For them, the
ritual existed only in its narrated form, much as Emilios story of his godfathers
error also does for us.
It should be apparent that the layer of conscious reflection among santeros is
as much a set of cultural practices, a product of circulating cultural forms and
norms, as are ritual practices. Rituals understandably attract the ethnographic
eye because their very characteristics as rituals make them stand out as iden-
tifiable, often vivid and extra-ordinary eventsthis feature is what linguistic
anthropologists, following Bauman and Briggs (1992) and Silverstein (1992),
would call their high degree of entextualization. Indeed, rituals in Santera have
this attention-grabbing effect on all of their participants. But I will argue that
anthropologists of religion have paid too little attention to more amorphous,
often quotidian activities surrounding rituals. I mean not only the preparations
and clean-up, but more importantly the rich but ordinary discourses in which
rituals are discussed: the negotiations that go into planning, the backchannel-
ing chatter that occurs during most of the Santera ceremonies I witnessed,
and the after-the-fact reports, gossip, evaluations, critiques, and even reminis-
cences that continue to enliven memories of long-past rituals and show their
continuing relevance in conversants lives.
That is, it is not rituals in themselves that generate moral community,
but rather rituals together with the discourses they provoke that embody
and thus bring into tangible being a moral community of Santera. After all,
ritual events may be attended by non-santeros, newcomers, visitors, neigh-
bors, and other incidental curiosity-seekers and casual onlookers who have
little or no additional contact with santeros. However, rituals often provoke
participants to reflect upon and discuss them, and those ritual participants
who also take part in persistent circuits of reflective discourse, I argue, do
tangibly coalesce as a community. The metaphor of an atomic nucleus and
orbitals provides one image of the relationship I propose between these dif-
ferent categories of discourse events: rituals comprise a nucleus of religious
activity around which swirls all of the surrounding discourse about rituals
and religious life, like a cloud of electrons. To push the atom analogy further,
Santera emerges as a religious activity comprising both ritual nucleus and
informal discourse cloud, even when some of that discourse seems to be
merely gossip, calumny, or storytelling, and not purely about sacred matters.
Demonstrating how such seemingly peripheral clouds of discourse envelop
some practitioners into a stable and tangible community is the goal of part 3
in particular, although an example later in this chapter will lay out some of
the groundwork.
My argument for decentering rituals primacy in producing religious com-
munity suggests a need to also re-examine rituals assumed (and undertheo-
rized) primacy in producing religious experiences. We can ask, for example,
how and why Emilio and the new initiate reached such different interpreta-
tions of the divination they both experienced, a question phenomenology
alone cannot address. Whereas the phenomenological approach favored in
the psychology of religion tends to conceive of religious experiences in terms
of private, transcendent sensations localizable in brain physiology, and to look
for ritual stimuli that directly produce certain physiological responses, I sug-
gest that phenomenological experiences are subject not only to framing dur-
ing rituals, but also to ongoing reinterpretation and social negotiation of their
consequences through retelling (Hood 1995; Newberg et al. 2001). That is,
rituals and their surrounding discourse bring together phenomenology and
interpretation as two poles of culturally mediated activity.
Within anthropology, tacitly phenomenological approaches to religious
experience have followed the philosophical and psychological emphasis on
individual, even private, constructions of experience built directly on sensory
being-in-the-world (Berhenn 1995; Eliade 1959; James 1922/1902; Merleau-
Ponty 1989/1962; Proudfoot 1985). But recent critiques, especially within the
anthropology of the senses, challenge us to examine how culture mediates
phenomenological experience, and in particular, its articulation in discourse
(Crapanzano 2003: 1114; Csordas 1994; Geurts 2003; Jackson 1996). In line
with these critiques, I consider how cultural forms like rituals offer certain
sorts of experiences whose meanings get negotiated in publicly circulating dis-
course. I examine experiences as fluid, intersubjective constructs of discourse
and memory that are seldom fixed but rather are open to new tellings and
new interpretations. Interpretation, then, is the complement of phenomenol-
ogythe way in which culture mediates the senses.
Anthropologists have long focused on the role of rituals in shaping religious
experience with good reason. Rituals serve to generate distinctive phenomeno-
logical experiences in participants by enveloping them in lush sensoria and
bodily praxis that make symbolic configurations tangible, imbue them with
emotion, and enforce them, at least temporarily, as normative. The tangible,
sensible aspects of speech and song in themselves may produce memorable
experiences of a particular metaphysical orderthe poetics of ritual speech
being one example.3 That is, successful rituals persuade participants to enter
into structures of participation that may even violate social roles or expec-
tations of the physical world: in Santeras rituals, for example, orichas take
possession of participants bodies, cowrie shells speak during divinations,
and the etiquette of the priestly hierarchy prevails over other, quotidian social
identities. Rituals as events distinguish themselves from everyday life by offer-
ing distinctive phenomenological experiences and hints for interpreting them
as religious experiences. Santeras rituals are also discursively rich events. They
pose special problems of intelligibility for participants, in part because they so
heavily rely upon an esoteric ritual register called Lucum. These rituals, in a
sense, cry out for interpretation, because they simultaneously enable tangible
communications with the divine and render those communications only partly
intelligible.
This brings us to the interpretive pole of cultural activity. Rituals, the saying
goes, are both models of and models for the world, which is to say that they
set people into distinctive configurations or frames of participation that set up
particular expectations about how the event will unfold (Geertz 1973: 9394;
Goffman 1981).4 Something about these participant configurations then carries
over into life outside of ritual, so that even when people are not engaging in rit-
ual-like activities, they can draw upon notions of relation and causality learned
in ritual or through ritual and inhabit those same footings developed in rituals.
Participants, in their reflective discourses, in turn, may (often unconsciously)
replicate the alignments learned through ritual participation and in doing so
draw upon those rituals as models for causality or social relations. For example,
santeros often attribute problems they face in everyday life to the handiwork of
the orichas, an explanatory model of events that is heavily reinforced through
frequent rituals of divination. Divination also provides the avenue for solution:
once one identifies orichas as the actual source of a problem, one need only
figure out which oricha to appease and by what means.
But the relationship between ritual models and other situations is neither
direct nor automatic, because people are constantly engaged in interpretive
work, in which they may take up alignments learned in one context and embed
them in more complex frames that recontextualize their apparent meanings.5
Urban (2001) refers to this interpretive work, and the sometimes durable cul-
tural forms it generates, as metaculture, because it is culture reflexively focused
on itself. Book reviews, for example, are a well-defined metacultural genre that
bring a book to our attention by reflecting upon it and characterizing it as an
exemplar of a certain type of recognizable cultural formbooks of a particu-
lar genre, for example. After-the-fact commentaries on ritual performances in
Santera are a different form of metaculture, one that has its own canon and its
own pattern of circulation among Santera practitioners. The significance of
attending not only to ritual events, but also to patterns of interpretive activity
triggered by rituals is that these are how participants make sense of their ritual
experiencesto render them intelligible, whether as moments of numinosity
or of human blunder. The almost incidental consequence of these dense webs
of retelling and meaning-making is that the people they envelop are brought
into communion (if not agreement) not only as ritual participants, but also
as participants in reflective discourses, which is to say as members of a moral
community.
Metaphysical reflections on religious ethnography
In a sense, ethnography, too, consists of seeking to render ones experiences in-

telligible by weaving together a series of telling moments that reveal something
about an underlying order. During my fieldwork, I participated in the rituals
and reflective discourses of santeros as a temporary and peripheral member of
their moral community. I am necessarily adding my own layer of reflection and
interpretation onto theirs (and therefore doing my part to construct Santera
as a recognizable cultural entity of a particular sort), even as I try to reveal
how santeros go about interpreting their experiences. It is only fair that I say
something about my own (admittedly complicated) metaphysical stance before
representing those of my field consultants.
I first became interested in Santera in the mid-1990s when I learned the
dances of the orichas in an African dance class. I was entranced by the com-
plex rhythms of the three bat drums, whose rhythms blend like a running
brook over rocks, compelling the body to move polyrhythmically. Even in the
secular context of a Seattle dance studio I felt the power of these dances! Surely
they were mnemonics for all the esoterica of the Yoruba pantheon; the dances
performed each orichas personality, preferences, attributes, and special asso-
ciations with the natural world: Ochns coquettish vanity, Yemays billowing
ocean waves, Ochoss cocked bow, Ogns fierce machete. It wasnt until I first
visited Cuba in December 1997 (as a beginning graduate student in anthropol-
ogy) that I experienced the music and dance as practitioners perform it in
ceremonies to praise and call down the orichas. I went on one of the increas-
ingly common folklore study tours of the 1990s, choosing Santiago de Cuba
in eastern Cuba as my destination because of its history as an Afro-Cuban city.
On that trip I first heard Santeras ritual songs, captivating and unintelligible,
sung as they are in Lucum. Then and now, I always find myself singing along
in the chorus in the call-and-response that layers over the tumbling, thumping,
ringing drums.
My first visit to Cuba also occasioned the first of many divination rituals I
received or witnessed. I found the ritual process of making cowrie shells speak
or reading divine responses into coconut shell pieces compelling in the way
such divinations provided a direct and personal message, as if calling up God
on the phone. The messages received were, I noticed, sometimes cryptic, de-
manding interpretation, and sometimes simple and direct, demanding action.
As I eagerly participated in rituals and willed myself to let go and believe, I
wondered whether Cuban participants felt the same visceral response to ritual
speech and song that I did. Over the course of my field research during longer
stays in the summer of 1998, much of the fall of 1999 to the summer of 2000,
April 2002, and up to the present, I find myself vacillating between captivation
with the drama of rituals and the visceral quality of divine messages I and oth-
ers received and frequent bouts of skepticism about whether particular events
and performancesparticular messagesare truly of divine origin. Although
I remain uninitiated, I have been unwilling to categorically reject the religious
worldview of practitioners: honestly speaking, I want to be convinced. Perhaps
my own skeptical open-mindedness attuned me to a dynamic tension between
skepticism and faith that was present in so many conversations I witnessed or
participated in. Certainly, attending to this tension helped me make sense of
much that was initially puzzling to me, such as santeros insistence that they
always followed orichas commands to the letter at the same time that, by their
own admission, they were very selective in disregarding or discounting a great
deal of what orichas putatively said in divinations or possession trances. Al-
though I did not get religion, I did find my research project.
I have to admit to a certain quandary in which I found myself. Religious
people immediately interpreted my research interest as spiritually motivated,
as indeed it is, but in complicated ways. They understood my doubts, if not my
agnosticism, often telling me that they, too, had once harbored such doubts,
and that I was right to be skeptical of the religious activities of some who pur-
ported to be santeros. They were confident that the saints had brought me into
my line of research for a reason and that the saints would find ways to convince
me of their importance in my life.
As a result of a consultation during my very first visit to Cuba, a santero who
quickly became one of my key consultants and mentors did a ceremony for me
that cemented a bond of godparentship between us. This santero and folklor-
ist, Emilio, also took me under his wing as a student of folklore. I was and am
Emilios godchild and his student, and he would introduce me as such when he
took me to meet other santeros around Santiago de Cuba. I have no doubt that
my identification as a godchild and thus as one-potentially-on-the-path-to-
initiation facilitated my access to information and ritual activities from which
a noninitiate would usually be barred. It also generated its own momentum,
because diviners and mediums were quick to discover further evidence of my
future spiritual trajectory: the spirits of the dead who surrounded and protect-
ed me; the same oricha, Obatal, who was repeatedly identified as my Angel,
guiding my destiny. Although I respect Santera and its practitioners and feel
an energy during certain rituals that I have experienced nowhere else in my
life, I can never quite overcome my agnosticism. I resist committing myself to

any creed, even while I seek out the energy, the ach of religious experience in
Santera.
My mentor, godfather, and field consultant extraordinaire, Emilio, has
pointed out parallels between his own one-time professed atheism and my
state of disbelief. In chapter 4 I present his conversion story and discuss how
he used this narrative to position me on a religious trajectory just like his, in
which events will sooner or later compel me to be initiated as a santera, just
as he, a decade ago, could no longer ignore the presence of the orichas in his
life. Emilio and other santeros often retold narratives about compelling ritual
events in their lives to me and to each other, and many of these stories reappear
here. I will argue that the circulation of these narrativesand many related
forms of reflective discourse about rituals, including what would more accu-
rately be characterized as evaluations, critiques, and controversiesis what
maintains the moral community among santeros in Santiago and ratifies (or
denies) membership in that community.
At the same time, my very marginality in the religious community, my un-
initiated status and open-minded skepticism also facilitated my interactions
with others on the blurry margins of Santera. A telling moment of my own
from my final night in Cuba during a trip in April 2002 will illustrate this. My
hostess in Havana, Soledad, and I got onto the topic of my research. She was
intrigued and asked me many questions about my own beliefs. I was honest,
saying that I feel a great affinity for Santera and even have a godparent in the
religion, but that I cant help falling too easily into skepticism and agnosticism.
Perhaps too many years of scientific training (while first soaking in and later
sparring with a highly opinionated and devoutly Catholic grandmother) had
spoiled my ability to commit wholeheartedly to any religious practice. My ad-
mission opened the floodgates. She told me that she consults with two different
santeros but that as a biochemical engineer she finds it hard to set aside her
skepticism. But what they tell her in consultations is always true. Once, one ad-
vised her to say good-bye to her grandmother and prepare herself, because her
grandmother would die in fifteen days. There was nothing to be done to save
her. Sure enough, her grandmother died about fifteen days later. Frightening,
she concluded.
Seeing my sympathetic response, she launched into a number of other sto-
ries in which the santeros drastic predictions came to pass. Most recently, the
santero had told her that her husband would leave her, either moving out or
dying. This really frightened her, and she begged her husband to go to a doctor
or get a consultation himself with the santero. At this, her husband, who had
come into the room and was listening, abruptly left for the kitchen. He doesnt
believe any of it, she sighed. And her? Well, she remains skeptical.
One way of reconciling her stated skepticism with her testaments to uncan-
nily accurate predictions is to understand that Soledad was skeptical not of the
santeros ability to read the future, but of their motives in, as she said, putting
themselves in the middle of intimate family matters. Ever curious, she returns
for more consultations because she finds the weight of many true predictions
hard to ignore.
How do people come to interpret some experiences as religious, and how
do the reflective discourses through which they reach religious interpretations
help bring into being a moral community and a sense of Santera itself as a
cultural entity? The next section introduces the discourse-centered approach I
will use throughout the book to address these questions by examining one of
Emilios most often repeated telling moments. Along the way, I also introduce
some key ethnographic information about Santeras rituals, religious hierar-
chy, reflective discourse, and moral community.
The warning
During the same year that Emilio initiated as a santero, his younger brother,
always healthy, died suddenly of a fever. Of course the death was devastating
to his family. Emilio explained to me with regret that he had been divinely
warned during his initiation that someone in his family might die, but that it
had not occurred to him that his brother would succumb. After receiving the
chilling divination results foretelling of death, he had ritually protected himself
and also three elderly, infirm relatives, but this had not been enough. In telling
this narrative, Emilio wove together a ritual experience that shook him up and
a shattering event several months later, showing a causal relation:
Divine warning Warning not heeded Event comes to pass
Here is the complete narrative in translation, as he told it to me in 1998, after I

had become his godchild, but when we were just beginning to work together: 6
1 Emilio: It is not fanaticism. It is not fanaticism, it

2 is reality because I am not a fanatic. I, yes,
3 have my, I am religious and I have my belief but
4 I am not a fanatic.
5 I told you that when in It [divination] what
6 came out for me, it was necessary to give me
7 Olokun urgently, on my day of It. Or that is,

8 the third day [of initiation], when they told me
9 everything, that among the things that they told me,
10 they told me, the grave is open. The grave in
11 the cemetery is open for one of your family. And
12 rapidly, to save the iyaw [initiate], that is,
13 to save me, they had to give me Olokun [an
14 oricha]. Because Olokun is a dead one, Olokun
15 protects from the dead. Since he is a dead one,
16 he protects from the dead. Or that is, my
17 godfather had to leave rapidly to find me Olokun,
18 to do the ceremony at the ocean, because to do
19 the ceremony at the ocean far away, to find all
20 the tools, to find all the things, all the cloths
21 of Olokun, all the things, and to give me Olokun
22 so that the grave would not be open for me. When
23 there is an open grave for the family in the
24 cemetery, [it is] because someone is going to
25 die. When they gave me Olokun, that they looked
26 for everything rapidly. Everything, everything,
27 everything, to look for a car, rapidly, to the
28 ocean, to find all the things. Well, we saved
29 the initiate. That is, they saved me.
30 So then it wasnt me, now it was someone in the
31 family who is, who was going to die. It is
32 necessary to investigate who it is, and they
33 began to ask but they didnt say who it was.
34 [It] didnt say. The saint didnt say at any
35 point who it was. It is someone in the family,
36 but it didnt say who it is. And, well, what
37 decision was taken? To protect the family
38 members who were the most ill: my mother, my
39 brother Pedro, who always was sick. And an uncle
40 of mine who always was, who since he drank so
41 much, always was ill also. We began to take care
42 of those people, even by me, their medicine, if
43 they had something, rapidly (taking them) to the
44 doctor
45 KW: They had, were able to go to?
46 E: to my ceremony of the saint?

47 KW: yes, or to, ah, some
48 E: place to protect themselves? No. The saint
49 didnt say it would protect the entire family.
50 To take care of the famil-, of the people who
51 were the most sick within the family. And that
52 was what we did to be careful about my mother, my
53 brother Pedro, and my uncle Marcos, who are the
54 people who, because Pedro was always sick, who
55 drums in [a local folklore troupe]? K: Uhm-hm
56 E: He always had gotten an operation, and my
57 mother has hypertension and always had high blood
58 pressure, and always, like this, very elderly.
59 Now she is 89 years old. Very old, very old, and
60 my uncle Marcos, since he drank so much, always
61 was on the street. He stayed there sleeping, he
62 got hit, he fell, a car hit him one time. So, we
63 thought that one of these three people would be
64 the death because I was well with it. Until they
65 returned, it didnt close.
66 So we began to take care of these three people,
67 and the one whom we least considered was my
68 brother Jorge. It was he who died exactly three
69 months later. They had told me, three months
70 exactly. A downpour fell on him, he was drunk,
71 he got soaked. He went home and went to bed wet,
72 with wet clothes. He threw himself on the bed
73 and went to sleep. The next day he woke up with
74 a raging fever, and he didnt go to the doctor.
75 He began to take medicine himself, and he didnt
76 go to the doctor. A sudden, rage- raging
77 bronchopneumonia got him. In two days he died.
78 It was like that, so fast, like that, so fast. The
79 person we least considered. (pause) Three
80 months later. (pause) That death really was
81 there, and it was my family, one of my family
82 [that] they took away, my brother. Terrible,
83 terrible, the case. And [it] warned me. The
84 saints warn of that.
How does one know when the orichas have, indeed, intervened in ones
life? For Santera practitioners, deciding what counts as a divine message or a
sacred experience and how it should be interpreted is problematic. Such her-
meneutic questions may be deeply personal, but they rely upon shared criteria
that circulate according to social processes. That is, the religion one professes
has at least something to do with the nature of the religious experiences one
seeks and perhaps has. I am reminded of Durkheim, who explained religious
experience as a product of collective effervescence in which religious force
is none other than the feeling that the collectivity inspires in its members, but
projected outside the minds that experience them, and objectified (Durkheim
1995/1912: 22728, 230). Without accepting his atheistic assessment of religion
at face value, we can apply his insights to ask how what he called a moral
community can shape its members metaphysical experiences (see Durkheim
1995/1912: 42).
At first blush, Emilios intensely personal story does not seem to tell us much
about moral communities or collective effervescence. But in fact, when he re-
counts how he received the warning, he refers to ritual events that involved
a number of actors. In the first part of the narrative in which he receives the
warning (lines 529), Emilio alludes to various ritual acts: he received a special
divination called the It on the third day of his week-long initiation ceremony.
During the It, a divination sign was interpreted to foretell of an open grave,
and so those present decided to protect Emilio from the bad sign by hurriedly
doing a ritual called giving Olokun. With Emilio saved, those present did
another divination to investigate who else might be in danger from the open
grave. They apparently did not get clear results, and so the decision was made
to ritually protect the most vulnerable members of his family.
Who are the actors in the ritual drama he describes? This turns out to be
an essential question for understanding the significance of this narrative for
creating a local moral community. Emilios narrative is peopled with characters
and voicesfigureswho inhabit what Asif Agha calls roles, which are
established through various footings or alignments relative to one another and
to the narrator and audience (Agha 2005; Goffman 1981: 12457). In bringing
all of these figures together in this narration, Emilio is creating a discursive
representation of one local part of his moral community, which encompasses
other santeros, ritual and genealogical kin, and divine beings. In doing so,
he is not simply representing reality, but rather helping to create that reality
through the indexical relationships between the figures in his narrative and
the people he knows (Wortham 2001). Some of these indexical relationships
are highly presupposedfor example, he is present as a character in his own

narrative in the role of a new initiate. Other indexical relationships, such as
the unspecified plural, sometimes they and sometimes directly quoted we,
are less presupposed and more creative in his narrativethese unspecified
pronouns represent the segment of religious community that was faced with
interpreting a troubling divination sign.
Just who are they? In lines 910 they tell him the grave is open; they
then do a ritual for him called giving Olokun. He then quotes them saying,
we saved the initiate (lines 2829). Finally, they unsuccessfully investigate
who else in his family might be in danger. Most of these theys likely refer
to Emilios ritual elders, who would have been conducting his ceremony: his
godfather and godmother, an officiating priest (or italero), and other senior
santeros invited to the initiation by his godfather. We can surmise that the
assembled santeros were the ones to interpret a bad divination result into a
course of action. Emilio experienced the ritual events as a close call on his own
lifehe was saved from the grave by timely ritual intervention.
The success of the ritual intervention, however, is ultimately due to other
actors: the saints and the dead. In lines 910, it is ambiguous whether he
attributes the quotation the grave is open to the santeros or to the saints
who speak through divination: either entailment, in my experience, is possible.
What is not ambiguous is that the oricha Olokun protects Emilio from death
as a result of a ritual, and the saint does not say who else in his family might
be in danger, in spite of a ritual (lines 3334).
All of this is to say that Emilio did not arrive at his assessment of events
alone: his narrative makes clear that a group of santeros collectively engaged
in ritual and reflective activity in order to reach a consensus about what a
bad divination sign meant. We might say that that small group representing
the religious community gave voice to the orichas, with whom they shared
responsibility for the ritual acts and interpretations they imposed on Emilio.
Altogether, living practitioners, spirits of those deceased, and orichas comprise
the imagined moral community of Santera. Cross-cutting networks of ritual
lineage and, sometimes, regular genealogical lineage unite santeros into over-
lapping circles of mutual obligation and concern that ultimately encompass
the spirit world as well. Santeros may become ritually empowered to speak on
behalf of the orichas, or even to speak as orichas, through divination and pos-
session trance ceremonies.
It is useful to briefly consider the normative model of ritual kinship, which
was the idiom through which santeros explained to me who was included in
the local Santera community. Figures 1.1 and 1.2 diagram the connections of
ritual kinship that link santeros to other santeros and orichas. Through initia-
tion, the santero is permanently linked to a principal oricha, or angel, whom
the santero will refer to as his or her mother or father. A second oricha of
the opposite gender becomes the other parent of the initiate. Special protec-
tor spiritsa deceased relative or ancestor, for examplemay also be identi-
fied. The identities of these orichas and spirits may or may not already be clear
to a person prior to undergoing initiation, but in any case the initiation process
confirms them. Initiation also links the santero into a ritual lineage through
his or her godparents, and through them to a line of ritual ancestors and ritual
siblingsones godparents other godchildren. The santero incurs obligations
as well to the principal orichas of the godparents, which ritually gave birth to
his or her angel. Finally, the santero may initiate his or her own godchildren,
thus producing new links in the ritual hierarchy. Santeros draw upon their
ritual networks whenever they engage in ritual activity, thereby continually
reestablishing the links that comprise their moral community. They also rein-
force these links each time they retell narratives like Emilios that are peopled
with divine and human members of their ritual kin.
Principal oricha Secondary oricha Special protector spirits

(Father/Mother) (of opposite gender)
q x t
Ego (Initiate)
Figure 1.1. Diagram of human-divine kinship connections in Santera.
Great-great godparents
q x
Great godparents
q x
Godparent Adjunct godparent (Ayugbn)
x q x
Ritual siblings Ego (Initiate)
q
Godchildren
Figure 1.2. Diagram of ritual kinship connections in Santera.
Emilios narrative makes clear that even in ritual, and even with as dramatic
an event as seeing the divination cowries fall into a foreboding pattern and
hearing the dire prognosis, a grave is open, religious experience is more com-
plicated than simply hearing divine voices or sensing something transcendent
in a ritual. Phenomenological experience is certainly part of the equation, but
we cannot leave matters there. People engage in interpretations, private and
public, of their sensory experiences, and these interpretations often surface in
discourse. Phenomenological experience and interpretation are intersubjec-
tive, which is to say that they are culturally embedded activities. The ideas
of bad signs, warnings, and spiritual protection are all in circulation among
santeros, ready to be invoked in order to demonstrate divine interventions in
events.
Nor is it a given that divination results will be taken at face value. As I wit-
nessed countless times, dire divination results do not always lead to frantic
countermeasures. Sometimes the recipient apparently accepted the result at
the time, then later expressed doubts about whether the saints had really been
speaking or whether the diviner was somehow in error. After hearing so many
narratives of close calls like Emilios, I was puzzled to discover how rarely re-
ligious practitioners actually followed through on what they had been told to
do in a divination. This seeming apathy was even more surprising when the
person had urgently sought the divination. What I eventually came to under-
stand was that santeros typically identified religious experiencestruly divine
messages, for examplewith hindsight, after subsequent events confirmed
divination results. Only then would they begin to publicly narrate an event as
a religious experience.
Indeed, religious Cubans are deeply concerned with seeking la comproba
cin (proof) to evaluate whether particular acts have succeeded in triggering
the deities involvement and whether rituals and other events have transcend-
ed human interests and errors to communicate with the divine. Adherents to
Santera, in particular, engage in intense reflection that evaluates particular rit-
ual performances, critiques other santeros, and evinces skepticism, not about
the existence or power of the deities, but about whether they are present or
have acted in any particular moment. To address how religious practitioners
interpret religious experiences, we will need to consider all of these types of
experiential and interpretive activity.
One important aspect of santeros emphasis on proof is that it demands that
people revisit their experiences and reconsider them with hindsight. Emilios
narrative exemplifies the retrospection that allows santeros to redefine an ex-
perience as sacred or not based on later events. How does Emilio narrativize
the links between the ritual events described above and the later fact of his
brothers death in lines 6777? He builds the case that he had been warned
of his brothers death by adding the detail that the divination had specified
that a family member would succumb in three months. He emphasizes that
Jorge died exactly three months after the ritual. He then recounts how his
brother died: he was careless after catching a chill and died from something
preventable because he would not go to the doctor. But, in a distinction Evans-
Pritchard (1937) made long ago in discussing witchcraft among the Azande, the
chill and fever are only the proximate reasons for the brothers sudden death;
Emilios entire narrative suggests that the saints had already marked Jorge, and
so it was, in some sense, divine will that Jorge died. Tragically, in Emilios esti-
mation, the death could have been preventable because the saints had warned
Emilio. If only he had understood who needed protecting, he could have ritu-
ally protected his brother. Emilio has retold this story many timesI recorded
versions of it or references to it at least a half dozen times over several years.
Considering the narrative in its totality once more, it becomes clear that
Emilio conveys through it his religious stance toward the world, in which the
saints give warnings, rituals can protect one from death, and people live or die
because divine beings will it to be so. Emilios narrated experience illustrates
that it is only prudent to carefully attend to the orichasno religious fanati-
cism is necessary when such wrenchingly vivid proof is before you. Emilios
narratives accomplish something else, in addition: as they circulate, they draw
our attention to the cultural forms that comprise Santera. Through my retell-
ing of his narrative, you the reader learn something about how divinations
work and how santeros ritually respond to the messages they receive. For that
matter, Emilio borrows some idioms of ritual forms of speech, such as the use
of Lucum jargon (for example, Olokun, It, iyaw) and the typical pat-
tern of describing divination results as if quoting and then elaborating on di-
vine speech (lines 1016, for example). Such trappings of ritual speech genres,
borrowed into the narrative, convey a certain mystical or esoteric flavor and
perhaps also a sense of being there. If compelling enough, such narrativiza-
tions of ritual activity may encourage future ritual participation. Emilios in-
terlocutors may become curious to experience a divination for themselves, or
at least to know more about how such rituals work.
If retellings of rituals generate interest in rituals, the reverse is also true: ritu-
als in many ways provoke retellings. Emilios narrative is a product of a memo-
rable ritual event in which he participated. And so there is a sequencean
interlocking chain, to again borrow Aghas metaphor (2003)of cultural forms

promoting one another across instances of interaction among religious partici-
pants: rituals provoke retellings and reflection that circulate representations of
the ritual beyond ritual events themselves, and these retellings may provoke
renewed participation in future rituals. Even when the reflection on the ritual
performance is negative, it may still generate a sort of momentum. Consider
the earlier example in which Emilio critiqued Robertos shoddy ritual work.
He created a buzz by gossiping about the errors Roberto had made. In do-
ing so, Emilio and his interlocutors reinforced their shared criteria for proper
ritual conduct. This book considers many variations on such chains of events
through which culturally conditioned experiences get retold and reinterpret-
ed. The paradox is that individuals move through these recognizable types of
cultural activity to arrive at subjective understandings of the most personally
significant and phenomenologically gripping events in their lives.
Overview of chapters
In the following chapters I examine how santeros engage in Santeras formal

ritual practices and intense reflective practices in search of experiences of the
sacred and how their discursive activity interacts with other discourses about
religion in Cuban society to produce Santera as a recognizable and distinctly
positioned religious community. One consequence is that a tangible sense of,
and indeed, consensus on what and who is inside or outside Santera is
constantly emerging through this activity. Of course, the construal of Santera
from within, by practitioners, encounters other external construals of
Santera, including secular perspectives that write off religion as superstition
or refashion it as folklore, religious perspectives that share aspects of Santeras
religious orientation or borrow bits and pieces from it, and so on. These in-
terpretive interactions are the subject of part 1, Religious Histories, which
examines the social and historical context in which Santera arose and persists.
Chapter 2 situates Santera in the landscape of competing religious and secular
orientations prevalent in contemporary Cuban society, in which santeros strive
to maintain Santeras distinction as the folkloric emblem of Cubas national
ideology of hybridity.
Chapter 3 traces the history of competing secular and religious discourses
about the value of markedly Afro-Cuban cultural forms to show how Santera
emerged and continues to be situated within the Cuban nation. In the course
of their religious and quotidian lives, santeros find themselves in various sorts
of double binds, in which they must negotiate different, even conflicting, in-
terpretations of Santera. The examples in the current chapter of two ways in
which Emilio opened his narrativesby distancing himself from the figure of
the religious fanatic (lines 14 of his narrative), and by comparing his ex-
periences to Aladdins taleshint at ways in which negative societal images
of Santera creep into santeros own reflective discourse about their religious
experiences.
In part 2, Religious Experience, two chapters explore the meaning of re-
ligious experience and ask how religious discourse mediates the metaphysical
experiences of Santeras practitioners. Chapter 4 develops the argument intro-
duced in this chapter that religious experiences cannot be accounted for simply
as individually experienced sensations. Rather, putative religious experiences
are intersubjectively recognized and interpreted through being retold as tell-
ing events, in which participants mobilize cultural forms, including figures or
types of people, in order to interpret experiences by, in effect, representing a
sacred world. As this chapters brief introduction to Emilios narrative of the
warning indicates, such narratives cannot simply be analyzed for content, but
must be considered as complex choreographies of figures and footings through
which narrators convey explicit and implicit understandings of their experi-
ences.
In chapter 5 I ask on what evidence people ascribe particular metaphysi-
cal interpretations to their experiences. Presenting an in-depth analysis of a
compelling possession trance later judged to be false, I focus on how rituals
enact participation frameworks that model the proper religious orientation
for interpreting experience. I go on to examine some of the implications of
religious practitioners tendency to apply a general attitude of skepticism and
seek proof in their evaluations of ritual experiences.
In part 3, Religious Community, two chapters build upon the stage set
in part 2 to examine the ferment of discussion, critique, and controversy sur-
rounding ritual performances that I argue creates the moral community of
Santera. Both chapters probe how rituals can both exacerbate and resolve the
tensions between collective aims and shared meanings on the one hand and
individual skepticism and agendas for personal advancement on the other. In
chapter 6 I explore the paradox that critical discourses highlighting skepticism
and individual interpretation also serve to build shared understandings and
a common sense of community in an otherwise decentralized religion with
little institutionalization. Chapter 7 analyzes several cases that reveal how even
apparently divisive conflicts actually serve to reinforce the boundaries of the
local moral community. My conclusions challenge the received notion in an-

thropology of community as an entity best characterized by homogeneity and
consensus. What if internal conflict and controversy actually serve to reinforce
a local moral community?
Chapter 8 considers how the dialectic between ritual performances and the
reflective, critical discourse they provoke promotes an ever-wider circulation
of discourses about Santera rituals, even beyond the bounds of the local moral
community. That is, how do ritual structures and interpretive frameworks pro-
moted by Santera induce even somewhat reluctant participants like Soledad,
the biochemical engineer mentioned earlier, to interpret their experiences as
religious? This concluding chapter traces the surprisingly global circuits of one
particular semiritual genre known as the promise, from a family emergency
to a nightclub performance to a novel interpretation of the 1950s North Amer-
ican sitcom, I Love Lucy. This chapter brings together threads of argument
from earlier chapters to explore how Santeras influence has recently expanded
and with what consequences for the local religious community in Santiago de
Cuba.
I
Religious Histories
2
All the Priests in the House

Defining Santera
Moyub todo los omo ocha y babalocha, bobo iguoro coggu il.
(I give homage to all the children of the oricha and fathers of the oricha,
all the priests in the house.)
Typical ending to santeros moyub invocation
One hundred years ago, the signifier Santera did not exist. Its referent
those cultural practices originally linked to Afro-Cubans of Lucum (Yoruba)
originwas not delimited in the way familiar today, but was part of a differ-
ent enunciative order of marginalized social practices that were most often
labeled brujera (witchcraft). Recently Santera has become the most visible,
most recognizable, and most emblematic Cuban popular religion. Santera the
religion and its decontextualizable elements of dance, music, and iconography
are promoted as emblems of Cubas national folklore by the state, a process of
folkloricization that began long before the Cuban Revolution, as I describe
in chapter 3 (Daniel 1995; Hagedorn 2001: 1112, 6768). This visibility arose
despite the crowded religious field, in which Santeras adherents number only
perhaps 8 percent of the population, and despite what ethnomusicologist Rob-
in Moore accurately describes as a national ambivalence toward Afro-Cuban
cultural expressions (1997: 220).
In part 1, I lay out the intersection of race, religion, and nation in which
Santera has been and continues to be constructed as Cubas emblematic syn-
cretic Afro-Cuban religion. In this chapter I introduce contemporary Cubas
complex religious landscape and argue that Santeras social valorizations
emerge from how it gets positioned relative to other religious practices by re-
ligious practitioners themselves and others. Then, in chapter 3 I consider the
historical question of how Santera emerged out of brujera to take its current
place of honor. To begin, I must problematize the question of what this entity
called Santera is. Taking a constructionist view, I argue that all possible defi-
nitions of a cultural form like Santera are ideologically charged in that they
cannot help but ascribe particular social values to (and therefore essentialize)
Santera, whether explicitly or implicitly. Santera, as such, exists most tan-
gibly as it is continually reinvented in the dialogical interactions among the
discourses and other practices that frame it, including scholarly texts like this
book (see Warren 1992: 2046).1 As David Brown says in discussing the very
issue of how Lucum religion has been represented, the narratives that eth-
nographers and practitioners tell, and have told, are mutually constituted in a
kind of intertextual hall of mirrors. . . . Theology and historiography seem to
be inextricably intertwined and mutually defining (2003: 19).2
The interpretive act of definition
I am intentionally working against the way Santera too often gets described
in the scholarly and popular literature, which is in abstract, structuralist terms
as a homogenous, discrete, completely explicit and coherent worldview cen-
tered on a pantheon of Yoruba deities and informed by a fixed set of oral
texts known as patakines that convey parable-like stories of the deities and
other set characters. Its roster of rituals, songs, prayers, and herbal lore are
often presented in prescriptive terms (and indeed sometimes such books serve
as how-to manuals).3 This manner of defining Santera, which certainly rings
true for many santeros, clearly does metacultural work by presenting Santera
as a neat, complete, and almost fully decontextualized package. There is no
hint of debate over labels like religion, no hint of overlap with other Cuban
religions, and no hint of disagreements or struggles over meaning and mem-
bership within the ranks of practitioners, although I will show that these, too,
are critical to understanding Santera. To fully understand such portrayals of
Santera it would be necessary to trace their origins in genres such as religious
manuals written by practitioners, early Cuban folkloric studies, and structur-
alist anthropological accounts of non-Western religions, and to think about
how the authors and consumers of these works align themselves toward their
materials, an analysis I return to in chapter 3.
How to define Santera
The standard thumbnail definition of Santera, available in many books, de-

scribes it as an Afro-Cuban religion that syncretizes Catholicism and Yoruba
All the Priests in the House: Defining Santera 27
beliefs.4 This definition, used by practitioners and scholars alike (myself in-
cluded), carries indexical baggage that links to a particular view of Santeras
place in the racialized hierarchy of popular religions in Cuba. Instead of sim-
ply accepting and transmitting this standard view of what Santera is, I wish
to deconstruct it to reveal its underlying assumptions. I will then present an
alternate view of what Santera is by focusing on its social and specifically
religious context in Cuba and on what santeros, in their ongoing boundary-
making efforts, promote as Santeras distinguishing features amid the various
boundary-making and boundary-blurring activities of santeros and others.
Doing so, I hope, will lay bare the semiotic processes that continually give
shape to Santera and other popular religions of Cuba.
That is, the entity described variously as Santera or La Regla de Ocha co-
alesces as a tangible cultural form with these labels through interpretive activ-
ity by santeros themselves in interaction with more broadly circulating dis-
courses that assign value to particular cultural practices or kinds of people,
as manifested in everything from everyday conversations to ethnographies.
These processes can be traced historically, with the goal of linking unfolding
moments of everyday interaction to larger-scale and longer-term social phe-
nomena.
The term Afro-Cuban is problematic because it serves as both the label
of a marked identity category (that is, for Cubans of African descent) and a
descriptor of cultural elements deemed to have African origins. Santera is
clearly Afro-Cuban in the second sense because of its cultural roots in West
African practices and cosmologies. However, many Cubans would call Santera
Afro-Cuban in the first sense as well, because they identify Santeras practi-
tioners as Afro-Cuban, which is to say black, even though the evidence is that
Santera is today and has for a long time been practiced by Cubans spanning
racial groupings and social classes. As Palmi says, Africanity and blackness
are not coterminous in the world of Afro-Cuban religion. Nor have they, for
what must surely be a long time, more than partially overlapped in complex
and ill-understood ways (2002a: 197). Calling Santera Afro-Cuban, as most
people would, lumps it together with other African-derived Cuban religions
like Palo and Vod in opposition to European-derived popular religions like
Spiritism, although in both senses of the word, Spiritism appears to be as Afro-
Cuban as these other practices, a point I return to below. A few Cuban folklor-
ists, in contrast, insisted to me that Santera was simply Cuban because all
Cubans are Afro, a clear extension of the national ideology captured in Fidels
description of Cuba as an Afro-Latin nation (Martnez Fur 1979; C. Moore
1988; Wedel 2004: 33). Ayorinde (2004) describes a current debate in Cuba
about whether Santera is a black, an African, or a national religion (173),

one that parallels Santeras politics of identity among Cuban Americans and
African Americans in the United States (Brandon 1993; Palmi 1995).
As to Santeras (by now well-established) status as a religion, Ayorinde
(2004: 78) and Palmi (2002b: 20310) comment on the ideological weight of
labels in the contrast set of religion, magic, witchcraft, and science. Santera, as
Palmi compellingly argues (2002a: 15968), became a religion in part as it was
morally differentiated from what continued to be regarded as less religion-like,
more magic- or witchcraft-like Reglas de Conga.5 I say more on this below, but
note that these labels themselves are highly problematic because of their power
to grant or deny legitimacy to the practices they describe. While there are eth-
nographic examples of people in Puerto Rico and the United States reclaim-
ing pejorative labels like witchcraft and magic to positively describe their
practices, in Cuba these terms continue to be negatively charged, and religion
is the preferred label (Drufovka and Stanford 1996; Pike 2001; Romberg 2003).
I take peoples usage of all of these labels as important ethnographic facts to
consider, especially since they can be applied to ostensibly the same actual
practices, but I follow Cuban scholarly practice in using religion as my de-
fault descriptor, precisely because magic and especially witchcraft are such
negatively loaded terms in Cuba.6
There is another important bit of baggage to be unpacked in defining
Santera as a religion. The naive notion of a religion still seems to imply a
cohesive, coherent, and more or less homogenous system, however much an-
thropologists have problematized such understandings. In fact, Santera, much
like what today gets glossed as Yoruba traditional religion in Nigeria, remains
a decentralized network of lineages, cults, and disparate public and private
ritual practices that readily intermingle across definitional boundaries with
other religions (Barber 1990; Matory 1994a, 1994b). Among Yoruba people in
Nigeria, worship of the orisha often coexists in complementary tension with
Islam and Christianity (Matory 1994b), just as Santera forms one strand of
Cubas equally complex religious landscape.7 But the image of a strand im-
plies a more unitary and centralized system than actually exists in practice.
The most fundamental division separates santeros, who initiate into Santera
(Ocha) proper, from babalawos, who initiate specifically into the cult of If and
become specialists in If divination. There is some debate among practitioners
themselves, and among scholars, about whether If is part of Santera or is a
separate religion. Certainly, there is evidence for both views and the question
of same versus different religion gains a political edge in the often-fraught rela-
tions between santeros and babalawos, which are in equal measure competitive
and complementary (see Ayorinde 2004: 17980; Dianteill 2000; D. H. Brown
2003: 14357).
Santera (with or without If) has traditionally been described as a syncretic
amalgam of Catholicism and Yoruba orisha cults forged in the crucible of New
World plantation slavery, a characterization with strong ideological connections
to Cubas national origin myth. However, an examination of ritual practices re-
veals closer affinities to the Yoruba, with only a thin veneer of Catholic iconog-
raphy that tends to accompany, rather than replace, Yoruba religious aesthetics
(Bascom 1971).8 Much of the Catholic influence has been filtered through, and
thus mediated by, popular cults of the saints, since the institutionalized Church
with its clergy, catechism, and services never fully penetrated Cuban society,
especially in rural areas (Brandon 1993; Ortiz 1995/1906; Portuondo Ziga
1995). What did come to permeate popular religious practices were the Iberian
Catholic calendar of saints days and the iconography and intense veneration of
an entire pantheon of Catholic saints. Santera also bears the influence of Spir-
itist and Congo notions of the dead, which Gonzalez-Whippler (1995), Palmi
(2002b: 19293) and others have argued largely supplanted West African rituals
for the ancestors (known in Santera as eggn).
As for Santeras Yoruba connection, before a Yoruba people existed, peo-
ple from modern-day southwestern Nigeria and eastern Benin were known to
European slavers and slave owners as Lucum (Castellanos 1996; Lachataer
1992: 14964).9 Santeros still sometimes refer to Santera as Lucum religion
and continue to label its ritual language Lucum more frequently than Yor-
ub. Santera developed as the religious practices and devotions to the Yoruba
orisha spread beyond the relatively small proportion of the population that
re-created African orisha worship practices on Cuban soil (D. H. Brown 2003;
Otero 2002). Other Africans and creole children of Africans would have been
first to come into contact with the reconstructed oricha cults, divination prac-
tices, and cosmology of their Lucum kin and neighbors, and in short order
the religion ceased to have clear ethnic associations, especially as African eth-
nicities overall faded in importance after the end of slavery (see Cabrera 1993;
Palmi 1993; 2002a). Although historical evidence about the early circulation
of oricha cults in Cuban society is limited, in modern times the western Cu-
ban city of Matanzas and certain neighborhoods of Havana (Regla and Gua-
nabacoa in particular) are renowned as strongholds of Yoruba tradition (D. H.
Brown 2003). According to santeros themselves, Santera is a more recent, less
historically deep tradition in the Oriente (eastern Cuba).
Rather than emphasizing the classic syncretisms between Catholic saints

and Yoruba orisha, it is more accurate to understand Santera to be a relatively
recent invention that coalesced out of diverse religious practices of African-
born residents in particular urban areas of western Cuba around the end of the
nineteenth century (D. H. Brown 2003; Castellanos and Castellanos 1988; Ortiz
1995; Otero 2002; Palmi 2002b). In any case, the name Santera seems not
to have come into wide usage until after Cuban folklorist Rmulo Lachataer
first proposed it in the late 1930s (Barreal 1992: xviiviii; Dianteill 1995: 4450;
Lachataer 1992: 90, 197). Then and now, practitioners of Santera have pre-
ferred to call their religion La Regla de Ocha, meaning the Law or Order
of the Orichas.
The popular religious complex in Cuba

It should now be clear that any attempt to define Santera without sinking into
oversimplifications and essentialisms must make reference to Cubas fuller re-
ligico-magic landscape and to the ideological work that produces its internal
differentiation according to a calculus of race, tradition/syncretism, and mo-
rality. In particular, Santeras relationship to other so-called popular religions,
some of which I have already mentioned in passing, is particularly salient to
its social valorizations. Table 2.1 compares the major religious traditions of
Cuba according to the popular and scholarly consensus on their names, prov-
enances, and popular connotations. One potential side effect of the table is to
imply that all of these practices appear as discrete choices or affiliations, which
is somewhat misleading. In fact, there has likely always been a good deal of
cross-pollination and of movement among them, much as we see today (Ar-
gelles Mederos and Hodge Limonta 1991; CIPS 1998; James Figarola 1999).
The so-called popular religions of Santera, Spiritism, Palo, Muertera, and folk
Catholicism are in an especially close relationship to one another because they
have to a large degree emerged and developed alongside one another, and they
continue to mutually define each other.10 An emerging body of scholarship
focusing on their interactions suggests that they are most productively under-
stood to be elements of a single popular religious complex, a view supported
by my discussion below of commonalities, divergences, and crosscutting ten-
dencies toward both combination and differentiation (Argyriadis 2000; James
Figarola 1999; Palmi 2002b).11
Many Cubans combine elements of several ostensibly distinct traditions in
complicated and often idiosyncratic juxtapositions. For example, many reli-
gious practitioners in eastern Cuba combine practices from Spiritism and Palo
Table 2.1. Overview of Major Religious Traditions in Cuba
Stereotypical
Name/Alternate Names Provenance Regional Stronghold Spirits/Deities Social Valorization
Palo Monte, Congo or Bantu Oriente Ngangas, Witchcraft; the most

Palo Mayombe, (16th19th C.) Mpungu, African, dangerous, and
Regla(s) de Congo, Nzambi deadly practice
brujera (God)
Vod, Haitian/Fon-Dahomean Oriente Loas Potent religion of small,

Religin Haitiana (1920s) (rural) isolated Hatian communities
Santera, Yoruba Western Cuba Orichas or Syncretism of Yoruba and

Regla de Ocha, (since 19th C.) (Matanzas, Santos, Eggn, Catholic practices
Religin Lucum La Habana) Olofi
(God)
Spiritism, or when United States Oriente Los muertos, Kardecian (European), with
combined with Palo, (since late 19th C.) Las ciencias many ties to Catholicism
Muertera
Catholicism Spain Urban areas Santos, Few churchgoers; many more

(since 16th C.) Dios Supremo practice popular cults to
(God) the saints
Protestantism United States Minor presence Dios Supremo Keep separate from other
(Most sects are present (20th C.) everywhere (God) idolatrous religions
in Cuba)
into an amalgam that Cuban scholars have referred to as Muertera or muer-

terismo (where muertos means the dead and muerteros are those who work
with the dead) (Millet 2000; James Figarola, 1999). Early in my fieldwork, I was
confused when acquaintances would introduce me to a santero they knew
who turned out not to be an initiated priest of Ocha but someone whose reli-
gious practices seemed to inventively combine Spiritist and more generalized
African elements in ways that seemed very idiosyncratic. These practitioners
are probably best described as muerteros, although they and others might ap-
ply different labels to their practices. In many cases, initiated santeros also
worked with spirits of the dead and would sometimes be better known for their
expertise as muerteros than as santeros.12
Santera (and its Yoruba antecedents in Cuba) has certainly been mined as a
Figure 2.1. Altar to a muerto (spirit of the dead) named Ma Rufina.

Figure 2.2. Altar to San Lzaro, a popular Catholic saint, incorporating Spiritist elements.
source of practices and beliefs that generally can cohere with bits and pieces of
other ostensibly distinct traditions. To cite a few examples, one muertera friend
who worked with an African spirit and moonlighted from her professional job
to provide consultations for clients was eager to have me teach her Lucum
words and songs used by santeros that she could incorporate into her rituals.13
Many other Cubans I knew drew upon the iconography and lore of Santeras
orichas in their religious understandings and practices. My observations are in
keeping with survey results by the researchers of the Havana-based Centro de
Investigaciones Psicolgicas y Sociolgicas (1998: 17), who argue that a greater
percentage of Cubans engage in private or family-level, autonomous, and high-
ly syncretic religious practices (30 percent) than commit to congregations or
other formalized groups of all of the organized religions of Cuba together (15
percent).
The most widespread institutionalized religions in Cuba are numerous
Christian denominations (Prez Jr. 1995a, 1995b).14 While self-defined Catho-
lics may worship saints in ways that overlap with Spiritist and even Santera
practices, Protestants typically will have nothing to do with any of these idola-
trous practices. Nonetheless, I encountered many households in which dif-
ferent members subscribed to different religions: santeros and Jehovahs Wit-
nesses; Spiritists and Catholics.
Measures of Cuban religious affiliation

Data on religious affiliation in Cuba are notably spare for two reasons. First, the
Cuban government controls all demographic studies. Second, if it even keeps
them, the government has not made census statistics on religious participation
available.15 What is available are two more limited surveys by Cuban scholars.
The first was conducted in the city and neighborhood where I did much of my
fieldwork.
Millet, Brea, and Ruiz Vila (1997) collected data on 133 households in the tra-
ditionally Afro-Cuban neighborhood of Los Hoyos, a stronghold of Santera in
the city of Santiago de Cuba. They cite census figures showing that Los Hoyos
has a total population of about 20,000 across 4,476 households.16 In Los Hoyos
and similar neighborhoods, I noted that people take pride in their Afro-Cu-
ban heritage and are therefore more likely to be open about their religiosity
than residents of higher-status, traditionally whiter neighborhoods.17 Nonethe-
less, Millets group recognizes that even in Los Hoyos people are reluctant to
completely confide in anyone taking official statistics, so their procedure for
identifying religiosity was to note whether or not signs of such were visible
on persons or in their homes.18 The researchers assumed that their procedure
would undercount religious participation, identifying only 70 percent of those
who are, in fact, religious. They found that 73 households, or 54.9 percent of
their sample, manifested some sign of religiosity and so estimated that as much
as 80 percent of households in the neighborhood were religious (5455).
As to how applicable their results would be to other neighborhoods with
different demographics, Millet and fellow researchers do provide data on the
correlation between race, educational level, and visible religiosity: they found
that around 73 percent of blacks and 71 percent of Chinese-Cubans were vis-
ibly religious, whereas only 4344 percent of those they identified as white or
mulatto were visibly religious. Results were similarly divided between those
with less than a secondary school education (6366 percent were religious) and
those who had completed at least secondary level training (4044 percent were
religious) (5556).19 Despite these significant differences, we note the overall
high levels of religious participation in Los Hoyos, which suggest how preva-
lent religiosity is in Cuban society.
Although there are no statistics reporting overall participation in vari-
ous religious traditions, one official Cuban study (CIPS 1998: 17) mentions
in passing that 15 percent of Cubans belong to some organized religion, 15
percent are not religious, and the remaining majority fall into the categories
of vacillating (20 percent), elaborating only a low level of religious belief
(20 percent), and practicing privately and intermittently (30 percent). If we

simplify these rather underdetermined categories into religious and not
religious, it appears that as much as 85 percent of the Cuban population is
to some degree religious, a finding that seems to validate the estimates made
by Millets group.
Unfortunately, Millet, Brea, and Ruiz Villa do not attempt to specify type
of religious adherence, although their studys implicit assumption seems to be
that residents of Los Hoyos practice popular rather than institutionalized
religions. By comparison, Argelles Mederos and Hodge Limonta (1991) give
at least a partial view of relative participation in Afro-Cuban traditions and
Spiritism. They collected data across ten provinces from 3,283 applications for
licenses to conduct home-based religious ceremonies (25153). This sample,
of course, did not allow them to state overall numbers for religious participa-
tion in the total population, but from the applications they identified 2,939
santeros, 35 paleros, and 202 adherents to more than one religion (21112, table
7).20 A separate study of rural areas in six provinces showed that of 1,135 inter-
viewees, 37.5 percent identified themselves as Spiritists, 8.3 percent as santeros,
and 2.7 percent as adherents of Vod (21213). These proportions have at least
face validity for the situation I observed in Santiago, in which Spiritism and
Muertera seemed to be most widely practiced, followed by smaller numbers of
(presumably initiated) Santera and Palo practitioners, with only a tiny fraction
of small, rural communities practicing Vod. Interestingly, the total percent-
age the authors give for respondents who self-identified as religious in Spirit-
ism, Santera, or Vod is about 50 percentin the range of the 54.9 percent of
households that Millet, Brea, and Ruiz Villa identified as religious in their 1997
study.21
What of the total number of santeros? If, keeping in mind all the pre-
ceding caveats, we accept Argelles Mederos and Hodge Limontas estimate
that somewhere around 8 percent of the total population practices Santera,
then practitioners in Cuba number 800,000 to 900,000 out of a population
of 11 million, a not unsubstantial number. If we further add that, despite
some clustering by region, neighborhood, and even socioeconomic stratum,
Santera practitioners do occur throughout the islands population and that
many more people participate in ceremonies or consult santeros than actu-
ally undergo initiation, then it is not surprising that most, if not all, Cubans
know something of Santera either directly or through a family member,
neighbor, or work associate. Certainly, these generalizations coincide with
my experience.
Commonalities across the popular religious complex
I have suggested that Santera is best understood as part of a popular reli-

gious complex. Going on, I wish to explore two opposing tendencies in how
practitioners and scholars treat the traditions comprising this complex. One
tendency differentiates traditions based on their particular European, African,
or syncretic origins (much as I did in table 2.1), while the other, long tacit in
practitioners combinations but which has emerged only recently among schol-
ars, seeks parallels and underlying commonalities that unite them. Argelles
Mederos and Hodge Limonta, whose statistics I cited above, are a classic ex-
ample of splitters; they devote a chapter of Los llamados cultos sincrticos y
el espiritismo (1991) to the unique origins and distinguishing characteristics
of each syncretic cult and to Spiritism, then nod at the lumper position
by providing tables of correspondences between particular orichas, Catholic
saints, Arar deities, and Palo kimpungulu (singular mpungu, Congo deity).22
James Figarola (1999) and Palmi (2002b) instead emphasize the commonali-
ties and common history that unite these magico-religious systems.
Among the many important commonalities, the Yoruba and Catholic no-
tions of a Supreme Creator god (called Oludomare in Yoruba and Olofi by
santeros and corresponding to the Congo Nzambi or Sambia) have converged
in popular belief to produce a generalized belief in a Supreme Creator who
leaves the running of the universe to a lesser pantheon of saints, orichas, and
spirits (Daz Fabelo 1960; Idowu 1962). Ways of conceptualizing and contacting
these entities, especially the spirits of the dead, have intermingled to the extent
that they seem to draw upon a common metaphysic, which James Figarola
(1999) refers to as Deep Cuba. Central to these deep commonalities is the
notion that humans and supernatural beings form intensely intimate, person-
alized, and symbiotic bonds, in which the spirits, saints, or deities repay hu-
man attention (in various forms of devotions, offerings, or manipulations) by
directly intervening in peoples lives and problems. Karin Barbers now-classic
discussion (1981) of how man makes God among the Yoruba applies broadly
to the fluid, ever-shifting hosts of saints, spirits, and orichas that fall in and out
of favor in Cuba.
These commonalities on the deep, cosmological level produce convergences
at the level of ritual practice. Practitioners of the popular religions maintain
home altarsoften more than onewhich they lavish with offerings on spe-
cial occasions or when they wish to request spiritual help. Ceremonies of fes-
tive worship, which typically feature drumming, singing, and dancing, are also
Figure 2.3. A Spiritist altar, one of several altars kept by a santera in her home.
Figure 2.4. An altar to the same santeras africanos or African spirits, each represented by a
doll and kept on top of her television set.
Figure 2.5. The casita (little house) of the oricha Eleggua, who opens and closes the door, is next
to the main door in the house of the same santera as in figures 2.3 and 2.4.
widespread, even though the spiritual focus of worship may be a saint, a spirit
of the dead, or an oricha.
We find another commonality among all of the popular religions in their
technologies for two-way communication with spirits and deities, whether
through divination, mediumship, or possession trance. Santera, for example,
claims three methods of divination, although only priests initiated as ba-
balawos can practice the most intricate form, called If, which has direct
continuities with Yoruba If divination in West Africa.23 David Brown argues
that the second method of divination, using cowrie shells, was elaborated in
Cuba as a more readily available adaptation of If divination that santeros,
rather than babalawos, could practice (2003: 13233, 339 n.52; also see Bas-
com 1980). The third and simplest divination method, using coconut shells,
is quite similar to coconut shell divinations I have observed by practitioners
Figure 2.6. A muertera gives a client a consulta (consultation) with her muerto.
of Palo.24 Spiritists and Muerteros practice mediumship or divination with

cards (either a regular deck or Tarot cards) or even with a glass of water and
a candle or a mirror. People facing health problems or a wide variety of oth-
er personal, familial, economic, or legal difficulties often seek spiritual help
and herbal remedies by shopping around across ostensibly distinct traditions
(Wedel 2004).
Even those who commit to initiation into Santera, for example, encounter
ritual requirements to be initiated (rayado) in Regla de Palo; to hold Spiritist
masses and otherwise work with spirits of the dead that have an affinity for
them; and even to attend Catholic mass and venerate particular saints. Emilio
told me that a santero must have been baptized in the Catholic Church. But
Figure 2.7. An altar to the orichas, accompanied by a statue of Santa Brbara, framed by popular
symbols to ward off evil.
note that this ecumenical approach does not diminish distinctions among tra-
ditions so much as highlight their complementary strengths in providing a
person with a sort of complete package of spiritual protection, undergirded by
a shared cosmovisin (cosmological vision).
Like an optical illusion in which two contradictory images shift back and
forth before ones eyes, the traditions of the popular religious complex are both
highly distinctive and highly convergent. I suggest that deep commonalities
and deeply rooted pragmatic tendencies toward borrowing encourage conver-
gence at some levels of practice, while an overarching interpretive framework
based on Cuban ideologies of racial difference and African-European cultural
syncretism encourages practitioners to maintain distinctions at other levels.25
Social valorizations of popular religions

However much the beliefs and practices of ostensibly different religious tra-
ditions overlap and converge, they remain distinct at the metacultural level
through a process of discursive polarization that is separate from the process-

es of practical blending I have already described. Their social valorizations
are based on a longstanding opposition of European civilization to African
backwardness that affects both how Cubans typify practitioners of each reli-
gion and who admits to practicing them. Each tradition is valorized primarily
based on its presumed European, African, or syncretic origins, and thus where
it falls on an axis from moral religion to immoral (or at best, amoral) witch-
craft. Folk Catholicism is imagined to be the most European of the popular
religions, followed by different varieties of Spiritism. At the other end of the
spectrum, Vod and Palo are presumed to be the most African traditions, and
Palo in particular is generally viewed as morally suspect if not tantamount to
witchcraft. Santera and Muertera fall in the middle, which makes their moral
status more ambiguous and more contested.
At the same time, by virtue of being intermediate between the European
and African poles, Santera (and the less widely recognized or discussed
Muertera) have become the prime exemplars of religious syncretism, al-
though in truth all of the traditions across the popular religious complex
represent syncretizations or hybridizations of various sorts. As the proto-
typical syncretic religion of Cuba, Santera has come to signify the creative
amalgamation of African and European cultures that is fundamental to Cu-
bas national origin myth. Thus, Santera has come to play a key role in the
politics of national identity, which in Cuba as elsewhere in Latin America
revolve around a discourse of racial hybridity that has been labeled the myth
of mestizaje.26 Of all the religions recognized in Cuba, it is Santera that has
become most visible in Cuban society and Santera that has captured the
lions share of international attention and commercialization. This is true
even though its adherents probably account for less than 10 percent of the
population. But as I will explore from a historical perspective in the next
chapter, Santeras importance in the myth of mestizaje produces its own
difficulties for practitioners and does not erase other more pejorative evalu-
ations of it.
Not surprisingly, religious Cubans may vary how they represent what they
or others are doing according to how they wish to align themselves relative
to particular audiences and contexts. Romn (2002) examines these dynam-
ics by comparing the career trajectories of two Spiritist healers at the turn of
the twentieth century, one of whom successfully built a reputation by aligning
himself with the Eurocentric drawing rooms of elite Cuba in which Spiritist
seances imported from France and the United States became acceptable ec-
centricity, while the other healers practice among more humble clients, includ-
ing many Afro-Cubans, was read by elites and police as criminally dangerous
Afro-Cuban sorcery. Romns analysis parallels the dynamics of religion a cen-
tury later: namely, that social actors distinguish, compare, and judge religious
alternatives not only on practical or metaphysical merits, but in terms of other
social and political criteria of the larger arena of society (see also Lago Vieito
2001).
Palmi develops a similar argument, suggesting that European Spiritist, Yo-
ruba, and Bantu religious practices became polarized on a spectrum of sym-
bolic valences, from Spiritism, which was the most civilized, white, and pure,
to Bantu practices known as Palo, which were the most barbaric, black, and
dangerous. The former are characteristics that Cubans, like most European-
influenced societies, gloss as proper, moral religion, whereas the latter are
understood to be characteristic of magic or witchcraft. Santera occupied
the middle ground, tilting slightly to the moral, religious side, depending on
the particular observer. Despite the practical integration of Yoruba and Bant
practices, Santera and Palo underwent a division of cultic labor in which
Santera became a proper religion with proper deities and proper morality,
while Palo became magicdealing with darker, more exploitative, and de-
cidedly less moral relations with spirits (Palmi 2002a: 19093). Argyriadis
(2000) also explores the contrast between Santera and Palo, but explains it as
a juxtaposition between Santera as a representation of a pure and authentic
idealized African civilization and Palo, which is characterized as cacopho-
nous sorcery that represents the backward and disorganized result of improp-
er syncretization. This, however, is probably only part of the story, since many
Cubans emphasize Santeras symmetrical syncretism of Catholic and Yoruba
traditions.
As Argyriadis also observes, practitioners frequently boost their own place
on the spectrum of propriety by describing more African practices as witch-
craft in contrast to their own religion. For example, on several occasions I
got into discussions with santeros concerning the potential to use ones ori-
chas for evil purposes. They typically insisted that the orichas would not allow
such activity and that it would backfire onto the santero. But, they inevitably
continued, Palo practitioners (paleros) could and did do witchcraft. In similar
conversations I had with paleros, they would insist that their own practice was
only for good, but that other paleros who practiced the more sinister forms
of Palo were the ones doing witchcraft.27 Somehow, like Clifford Geertzs end-
less layers of turtles, one never met the actual evildoers, only a succession of
Figure 2.8. A muerteras altar, with Spiritist elements on the shelf above and Palo elements on
the ground below.
pointing fingers. My Spiritist friends, in turn, sometimes expressed mingled

fear and admiration for the more dangerous and exciting African practices.
My Spiritist host family on one visit would alternately warn me against the
dangers of attending Santera ceremonies and pump me for information when
I returned from one.
Practitioners themselves, then, participated in discourses differentiating
religious traditions and, alongside their willingness to borrow and blend, en-
gaged in boundary-maintaining practices, such as maintaining different altars
for each tradition.28 One muertera I interviewed proudly showed me her altar,
which was neatly divided into a Spiritist part on the mantle and a Congo (Palo)
part on the floor below. She explained that the Spiritist part of her practice was
light and pure and could only be used for doing good, which was why it was
up high on the altar. The more earthy Congo part of her practice was morally
ambiguous and dangerous, but also more powerful. It gave her the potential
to help clients by harming those who caused them problems, something the
Spiritist practice could not do.
I have suggested that there is a tension in understandings of religions in

the popular religious complex between tendencies to blend or lump traditions
and tendencies to maintain distinctions that carry moral valuations. This ten-
sion is similarly evident among both religious practitioners and scholars. This
discussion should make clear why Santera cannot be defined or discussed
in isolation from its counterparts in the popular religious complex and that
any widely accepted definition is best understood as the precipitate of ongo-
ing, ideologically charged discourses about religion, magic, and witchcraft in
Cuba.
Boundary-maintaining practices of Santera

Santeros, those who embrace La Regla de Ocha, face a problem, which is to
differentiate their religion from other, similar popular religions at the same
time that they, and other religious practitioners, liberally borrow from and
blend ostensibly distinct religious traditions. What is at stake at the local level
is the cachet and security of belonging to a well-defined moral community, and
what is at stake more broadly is Santeras increasingly privileged role as Cubas
exemplary popular and folkloric religion, with all the benefits (and complica-
tions) that accrue to its practitioners as a result.
Religious alternatives like Spiritism, Santera, and Palo emerged, exist, and
continue to resist blending because of their practitioners and others (folklor-
ists, ethnographers, historians, et cetera) boundary-making activities. Having
unpacked the essentialisms in the standard, shorthand description of Santera
as a syncretic Afro-Cuban religion, I will close the chapter by examining a few
of the ways in which santeros mark the boundaries of their moral community.
While some boundary-marking occurs overtly in discourse, as when santeros
talk about the need to stick to tradition or compare their practices favorably
against those of other practitioners, santeros also engage in practices that im-
plicitly convey their claims to insidership.
One easy example is the moyub invocation with which santeros open al-
most all ritual activity. The title of this chapter, bobo iguoro coggu il (all the
priests in the house) is a common closing phrase of santeros moyub invoca-
tions, after they have named all the individual santeros, living and deceased,
who are part of their ritual lineage or otherwise important to them. The phrase
is a catchall to cover any santeros whose names might inadvertently have been
left out of the invocation. For santeros, the phrase and the entire moyub invo-
cation of which it is part are ways of ritually representing the most salient parts
of their religious community, subdivided as it is into ritual lineages, which are
traced according to relationships of godparentage sanctified during initiation.

The phrase itself is in the esoteric liturgical register santeros call Lucum,
which santeros regard as the divine language of the orichas and the ancestral
language of Santeras Lucum (Yoruba) ethnic origins. Knowing the proper
uses and meanings of Lucum words and phraseslike those of the moyub
invocationis as important a mark of insidership in the Santera community
as being named in the moyubs of other santeros. These details tell us some-
thing of santeros normative understanding of who, precisely, is part of the
local religious community of santeros.
This example also illustrates three crucial features of Santera that sante-
ros highlight in reflective discourse and practice as particular hallmarks of
Santera, although none of these features in itself is unique to Santera. Para-
doxical as this seems at first glance, santeros find ways to differentiate their
way of doing things from other, ostensibly similar practices. The net effect of
santeros interpretive activity is to represent Santera as secretive, closed, and
markedly African.
First, santeros point to Santeras exclusive ritual hierarchy that requires ini-
tiation to join. Initiation is a lengthy and expensive endeavor that inducts par-
ticipants into a host of newly cast social relationships and ritual responsibili-
ties (see figure 1.2). The first step of initiation requires a week-long ceremony
in which the new initiate undergoes classic rites of passage to be metaphori-
cally reborn into a ritual lineage as the child of an oricha. Santeros emphasize
that they had to be initiated because their principal oricha compelled them to.
Many are deeply suspicious of those who would be initiated simply because
they want to, in the absence of divine pressure. Although initiation rituals
are not unique to Santera (Palo has a similar though less elaborate initiation,
generating somewhat looser ritual lineages [see Larduet Luaces 1999]), being
initiated into Ocha serves a gate-keeping function, distinguishing those with
a right to call themselves santeros and participate in even secret ceremonies
from all other practitioners.
Second, santeros emphasize their religions secret and esoteric knowledge,
which is gained only by participation in the ritual community and its tradi-
tions and not through personal inspiration or invention. Coupled with this
is an emphasis on one correct way of doing things in rituals, a way whose
logic presumably would be understood only by those with access to secret
religious meanings passed along as sacred (and secret) tradition. In contrast,
Spiritists encourage individuals to cultivate their natural abilities as spirit
mediums, and many religious Cubans pray and make offerings to their saints,
orichas, and spirits within their own households, without engaging in com-
munal religious rites. Palo shares with Santera a more secretive orientation,
but presumably the secrets differ. Santeros agreed in telling me that the cen-
tral secret of Santera was the secret shared in initiation, although it was
clear that most rituals and types of ritual activity were understood to have
increasingly deep layers of occult meaning that were supposed to remain
inaccessible to all but the experts (Wirtz 2005, 2007). 29 The moyub is no
exception. Indeed, its Lucum sections serve to obscure semantic levels of
meaning, which raises another key feature of Santera.
Third, Santeras esoteric ritual register, Lucum, heightens the mystery and
insidership of rituals and provides a partly unintelligible code for conveying
occult knowledge and religious insidership. Again, consider the phrase bobo
iguoro coggu il in the chapter epigraph. Lucum utterances publicly signal
the authoritativeness of ritual performances, the focus of which is communica-
tion with deities and spirits. Initiates describe Lucum as the language of the
gods, necessary for communication between humans and oricha. Although
the language is not secret, it is highly esoteric, even among initiated sante-
ros. To speak in Lucum is to simultaneously display and disguise ones secret
knowledge and to signal ones authority to mediate communication with the
sacred. It adds to the veil of secrecy that Lucum utterances are often not se-
mantically transparent even to religious specialists, who focus on Lucums
pragmatic force as a magical language (Wirtz 2005). Many santeros would not
be able to provide a gloss for even as common a phrase as bobo iguoro cog-
gu il, as evidenced in the version given in the chapter epigraph, in which
the more readily understood todo los omo ocha y babalocha (all the children
of the oricha and priests) in a sense glosses the more opaque version. Lucum
contributes much of the distinctive pattern of ritual speech that gets taken up
and replicated not only in later rituals but also in talk about rituals. Lucum
is key to how Santera is understood by religious participants and outsiders
alike, especially in how it reinforces santeros projected vision of Santera as
an exclusive, select religious community whose power resides in its control of
occult knowledge deriving from African tradition.
Since Lucum derives from Yoruba, an African language, it carries all of
the complex valences of things African in Cuba. As a result, its interpreta-
tion oscillates between being a potent, magical mode of divine communication
and being a signifier of Africanity in a society still struggling with racism and
other legacies of slavery. To the extent that ritual performances shape social
attitudes and allegiances, the former interpretation prevails. But the interpre-
tive frame promoted by rituals is always in competition with other circulating

characterizations, such as those anchored in official, folkloric, and commercial
representations of Santera and other Afro-Cuban elements.
An anecdote will illustrate this point. One of my transcribers, who was not
religious, had been working hard at home in the evenings, trying to complete
transcriptions of several interviews and a divination ritual before I was to leave.
When she came to drop them off, we discussed how the transcribing process
had gone. Just fine, she said, although she was very tired from working so
hard, and some of it was quite difficult to understand. In fact, her husband had
caught her talking to herself, repeating what she heard as she wrote it down.
He teased her for speaking Mandinga, meaning that she was speaking like an
enslaved African might have spoken: Mandinga refers to an African language
and ethnic group (a nacin in Cuban terms) that was well known in colonial
times. The word has survived as a playful way of referring to someone or some-
thing Afro-Cuban, as in the nonsensical chorus of a well-known son (genre
of popular music related to salsa) that praises the beauty of a black woman,
Quiquirib, Mandinga.
African-sounding wordplay has a well-established place in Cuban music
and literature (consider Cuban poet Nicols Guillns famous sonorous and
nonsensical refrain, sngoro cosongo, or the equally unintelligible open-
ing of his poem Canto negro: Yambamb, yambamb! (1972: 105, 122).
But it is decidedly marked speech, not least for its unintelligibility, because
it invokes the imperfect speech of enslaved Africans who learned Spanish as
a second language. Although my transcribers husband used the ethnonym
Mandinga, the more commonly heard term is bozal, which in colonial
times referred to both African-born slaves and to their attempts to commu-
nicate in pidginized Spanish (Alonso and Fernndez 1977; Isabel Castellanos
1990; Lavia 1989; Lipski 1998; Schwegler 2006). Bozal speech still carries the
derogatory connotations of being rural, provincial, uneducated, and black.
Although there are no longer any bozal speakers, there remain what Cubans
and linguists alike call bozalisms, remnants of a pidgin or semicreolized
sociolect (Ortiz Lpez 1998). Cubans who are uninvolved in African-derived
religions like Santera are likely to refer to religious jargons such as Lucum
as bozal speech, whereas religious participants do not confuse liturgical lan-
guage with what they, too, may regard as bozalisms. Palo also has a religious
jargon derived from Bantu languages like Kikongo (Barnet 1995; Fuentes
Guerra and Schwegler 2005; Gonzlez Huguet and Baudry 1967; Valds Ber-
nal 1987).
Conclusion
Just as religious outsiders looking in conflate religious jargons like Lucum

with bozal, they are also likely to conflate Santera with other, more African
religious traditions and to gloss all of them as witchcraft, brujera. Practitioners
and outsiders alike understand Santera according to this general matrix of
social value that itself perpetuates a racialized social order. Based on the
observers perspective and choice of social alignments, Santera gets glossed
variously as religion, witchcraft, backward superstition, or African-European
syncretism in action, and the meaning of Santera emerges at the epicenter of
conflicts among these competing interpretive stances for reasons that trace
back to differing historical visions of Cuban identity.
I have demonstrated how Santera as an entity emerges through the prag-
matic and interpretive activities of practitioners and otherswhat Palmi fit-
tingly calls an indigenous sociology of religious forms (2002b: 162)to show
how they construct both convergences and boundaries among the practices of
the popular religious complex (and between those and other more institution-
alized forms of Christianity as well). In doing so, they (inadvertently, uncon-
sciously, necessarily) draw uponand thus reinscribeparticular orders of
race, culture, religion, and nation. All of this has been a perhaps long-winded
way of showing the inadequacies of the easy definition of Santera as a syn-
cretic Afro-Cuban religion based on Yoruba traditions. Or rather, thumbnail
definitions having their uses, of unpacking the inner workings of the social
order conjured up by the definition.
I have also provided an introductory sampling of the sorts of interpretive
work accomplished by santeros own activities. The ways in which they priori-
tize ritual lineage, ritual language, and religious secrets will saturate the ex-
amples described in later chapters. In this chapter I have illustrated how these
prioritizations link to the broader religious landscape in which santeros seek to
demarcate themselves as a moral community. What remains for the next chap-
ter is to show how santeros activities of self-definition have also interacted
with secular, especially elite and official state, views of them. Chapter 3 takes up
an historical view of how Santera gained its current stature, amid competing,
clashing, and sometimes converging visions of it.
3
Competing Histories
and Dueling Moralities
A tourist in Havana these days would have little difficulty encountering em-
blems of Santera amid a general proliferation of things Afro-Cuban offered for
tourist consumption: Paintings and postcards in art galleries and stores present
images of the orichas, sometimes Catholicized as saints and sometimes Afri-
canized; bat drum rhythms entice spectators to view authentic performances
of oricha dances; white-clad santeras draped in colorful beaded necklaces
roam the tourist areas of Old City offering consultations to tourists, while their
similarly dressed dolls and ostensibly religious bead necklaces are ubiquitous.
There are books and CDs about Santera in most tourist shops. The relatively
new Museo de la Asociacin Cultural Yorub de Cuba, prominently located
across from the Capitolio in a beautifully renovated building in Central Ha-
vana, is easy for tourists to find. Visitors to the museum can wander a gallery
featuring huge sculptures of orichas, each on its own altar, realized in an imag-
ined African rather than Catholic aesthetic, and set against lavishly painted
murals that evoke a tropical forest. Many of the items and performances listed
here can also be found, along with the oricha sculptures, in the museum or its
gift shop and art gallery.
Santera is highly visible in contemporary Cuba. The story I will tell in this
chapter traces in broad strokes how something called Santera emerged around
the turn of the twentieth century out of a tumult of popular religious and magi-
cal practicesbrujerato become the most visible entity in Cubas complex of
popular religions. I show how ongoing interactions among different interpre-
tive discourses circulating in Cuban society during the twentieth century and
into the twenty-first have given shape to Santera, both in contradistinction
to other practices, as described in the previous chapter, and as a multifaceted
entity in itselfone that projects different meanings when seen in different
lights.
Underlying my analysis is the notion that multiple interpretive stances in

dialogic interaction generate culturea religion in this caseas an emergent
phenomenon (Tedlock and Mannheim 1995: 14).1 That is, relatively stable
stances can be distilled out of how people express their alignments toward
(or against) Santera and similar practices in particular moments of interac-
tion. This ongoing, moment-to-moment activity of deploying interpretations
of people, objects, and events during everyday interactions is what ultimately
allows social norms and values to emerge (Agha 2003; Silverstein 2003). Ted-
lock and Mannheim in their discussion of this dialogic view of culture (1995),
cite James Cliffords contention that all culture be reconceived as inventive
process or creolized interculture (1988: 15), a notion Homi Bhabha echoes in
saying, it is the interthe cutting edge of translation and negotiation, the in-
between spacethat carries the burden of the meaning of culture (1994: 38). I
will explore how competing stances can produce tremendous tensions or can
sometimes almost converge in the alignments they generate toward Santera.
One quite literal, physical interspace is the magnificent and strange Mu-
seum of the Yoruba Cultural Association, introduced above. I visited the mu-
seum in April 2002 not long after it had opened. The guard who collected my
entrance fee, noticing my camera, explained that I was entering a museo-tem-
plo (museum-temple) and so photos were forbidden, just as some practitioners
forbid filming of their private altars. The bulletin board by the door caught my
eye. One announcement informed all practitioners of the Regla Ocha and
If that they could bring their iyaw (new initiates) between 9 and 10 a.m. to
ritually present them to their orichas at the altars in the exhibits. Another very
formally called upon practitioners of all Cuban religions of African origin to
follow religious commandments (mandamientos) to keep all vessels of stand-
ing water on their altars clean, so as to help eradicate the mosquito Aedes
aegypti, vector of dengue, in order to preserve the health of our people. The
museum was part sacred space, part public space and revenue-generator, and
part headquarters for an officially recognized religious association.
In filling these multiple roles, the museum encompassed multiple inter-
pretive stances toward Santera. Even its description as a museum-temple
straddled touristic, folkloric, religious, and even bureaucratic functions. As an
institution on the main tourist circuit of Havana, the museum collected admis-
sion fees in dollars and exhibited religious altars as aestheticized Afro-Cuban
folklore. Indeed, upon entering, one first encountered the Asociacins art
gallery, featuring paintings with strong Afro-Cuban religious symbolism.2 The
gallery (not to mention the gift shop and caf) suggested a typical museum
Competing Histories and Dueling Moralities 51
experience. However, other signs, like the first bulletin board notice and the
ban on photographs, pointed to the museums double existence as a religious
temple. As an institution under the aegis of a religious association, the museum
space and exhibits also permitted (indeed seemed to expect) ceremonial uses,
although only before and after hours. As a clearinghouse for communications
between the state and a religious organization, the museum and Asociacin
Cultural Yorub operated only with the states official sanction, as the Asoci-
acin president had stressed to me during an interview in April 2000. One sign
of this official relationship was the second museum bulletin board announce-
ment, which invoked both sacred writ and science to request that religious
practitioners help the states efforts to improve public health. The undercurrent
of this seemingly reasonable if officious announcement, as I discuss later in
the chapter, echoed a long history of official suspicions of Afro-Cuban ritual
practices as unhygienic and counter to the public good.
I wish to push the metaphor of the interspace beyond actual physical spac-
es to consider how Santera has been continually constituted and reconstituted
at the juncture of three competing metacultural stances, which for shorthand
I call the sacred, the suspicious, and the folkloric. I also examine some of the
consequences for santeros who must negotiate their religious and other (ra-
cial, national) identities according to fault lines drawn among these different
stances. Although similar interpretive processes have shaped all of the religions
of Cubas popular religious complex, my focus in this chapter is on Santera and
the particular stances that have been most crucial in its emergence.
The first of these stances is the view from within the religion santeros still
prefer to call the Law of the Orichas (La Regla de Ocha). This sacred stance is
generated by ritual practices that manipulate sacred power and establish com-
munications between humans and deities. Santeros commentaries on rituals
make clear that they place a high premium on obedience to divine author-
ity and, secondarily, to anyone higher in the religious hierarchy. The sacred
stance embodies santeros distinctive historical consciousness, in which ritual
lineages link contemporary santeros into a chain of ritual elders, ancestors,
and deities that stretches back across enslavement and the Atlantic to an al-
most mythic African homeland. A major theme of this historical conscious-
ness is the struggle to stem lossloss of ritual knowledge, loss of memory,
loss of language, loss of tradition.3 Practitioners are understandably obsessed
with remembering (and debating) the details of correct ritual procedure and
are quick to criticize each others performances in rituals. They guard their
knowledge as ritual secrets, lamenting all they no longer know and deploring
the deterioration of a once tight-knit religious community.
Loss is a constant danger for marginalized practices and oppressed groups,
and indeed, Santeras sacred stance is not as easily recoverable in the historical
record as are the dominant stances. What is available are santeros oral histori-
cal narratives, which are an important expression of santeros historical con-
sciousness. My subsequent discussion of the dominant stances tells the story
of how the sacred stance has continued to be marginalized. For example, prac-
titioners emphasis on secrecyoccult knowledge and practiceshas served
to protect them under the regime of the second evaluative stance, which is
suspicion.
The suspicious stance toward Santera has existed as long as the sacred stance,
but it embodies an oppositional, outsider perspective on Afro-Cuban religious
practices, one rooted in the denigration of Africans that accompanied their
subjugation in plantation society. Santera, under this interpretation, demon-
strates a primitive mentalitypremodern, superstitious, unscientificthat has
been perpetuated by poor living conditions: slavery, social marginalization,
poverty. I frequently encountered Cubans, especially educated professionals,
who would refer to religious practitioners as gente sin alto nivel de cultura
(people without a high level of culture). They saw practitioners of Afro-Cuban
religions as adherents to an outmoded magical and superstitious worldview.
This interpretive stance also ascribes danger and criminality to Afro-Cuban
ritual practices, and indeed these same acquaintances expressed fears about
my safety in attending ceremonies. The historical consciousness embedded in
this stance is one of linear, scientific progress according to elite, Eurocentric
norms, a progress threatened by the corrupting influence of what white elites
generally understand to be anachronistic practices.4
The third interpretive stance is the most recent, emerging fully only in the
early twentieth century. It is the folkloric stance that understands Santera to be
part of Cuban folkloric heritage and a marker of Cubanidad (Cubanness). The
historical consciousness projected by this stance is also one of progress, albeit
a unique trajectory of progress achieved through cultural synthesis and hy-
bridization. This is a sense of history that social scientists largely share: African
cultureswith an anthropological lower-case ccontributed to the ajiaco
(Cuban stew) that is creole Cuban culture. The ideology of Cubanidad consists
in conceiving of Cuban national identity in terms of idealized racial and cul-
tural fusion (de la Fuente 2001; Wright 1990). As a popular Cuban expression
about Cubans shared African heritage observes, l que no tiene Congo tiene
Carabal (he who isnt part Congo in his heritage is part Calabari). That is, all
Cubans are a little bit African, whether their ancestors came from the Congo
or Calabar. Similar expressions can be found throughout Latin America (see
for example Whitten 2003: 61). National ideologies of mestizaje often func-
tion to further marginalize black or indigenous citizens by marking them as
insufficiently hybridized and assimilated while simultaneously downplaying
ongoing racism (Rahier 2003: 42; Wade 2001: 849; also see Whitten 2003 and
Stutzman 1981). In the historical consciousness embedded within the folkloric
stance, Santera and other embodiments of Afro-Cuban culture have folkloric
value because they represent a past African influence on Cuban culture that
has produced the mestizaje or hybridity of the present. Cuban folklorists often
emphasize the syncretic nature of Santera and the multiracial composition of
its adherents, even while its roots in Yoruba culture fascinate them.
The sacred, suspicious, and folkloric appraisals of Santera construct very
different visions of what Santera is and what its continued presence means for
Cuban society. That is, Santera turns out to be significant within very differ-
ent types of historical consciousnesshere understood to be how individuals
or groups align themselves toward the past and its role in the present (see
Ohnuki-Tierney 1990: 89). In particular, my analysis contrasts an historical
consciousness grounded in sacred practice to secular modes of historical con-
sciousness that are promoted by Cuban elites and circulated in official and
scholarly discourses.
Ritual genealogies in Santiago de Cuba

Santeros talk about their history and the importance of the past in the pres-
ent most frequently through the idiom of ritual kinship. Relationships of god-
parentage tie Santeras initiates into ritual lineages that reach back several
generations and unite living practitioners into ritual houses. The requisite
ritual invocations that open each and every type of ritual activity, known as
the moyub, require santeros to recite the names of those they consider to be
part of their ritual lineage. Other sections of the invocation list deceased and
living links in the santeros ritual lineage, all of whose cooperation is necessary
for proper communication to occur with the orichas.
Santeros are not only concerned with ritual lineage during ceremonies. As
I observed, they also frequently refer to ties of ritual kinship or differences
across ritual lineages in everyday conversation. Santeros sometimes tacitly ac-
knowledged the responsibilities incurred by ritual kinship when they called in
favors, demanded respect or attention, asked for help or advice for a ceremony,
or decided to teach someone something. I often heard them explicitly men-
tion such links, as when a godfather reminded his godchild to respect him
as a godparent or when a santero told a senior santera that he named her in
his invocation because she had been present for his initiation. To cite another
typical example, one friend with a young son often reminded him to refer to
her godmother as madrina (godmother), as well. On a later occasion, when he
misbehaved while the godmother was babysitting him, she pulled him onto
her lap, admonishing him to behave with her because she was his godmother.
Who am I? she demanded, until he answered that she was his madrina. Two
years later, when I returned for a visit, the little boy had undergone initiation,
formalizing his connection to his madrina.
From discussions of such everyday ritual relationships, santeros frequently
move on to mention or discuss more distant ritual relations. Two santeros
meeting for the first time may thus establish a common ground in a shared
ritual ancestor or a more competitive stance by emphasizing that they belong
to distinct (and usually competing) lineages. Or one may privately conclude
that the others religious credentials are dubious because his ritual lineage is
unfamiliar. That is, even when santeros do not know one anothers godparents,
they will frequently recognize some prominent ancestor widely known among
Santiago santeros.
I also found that santeros frequently indulged in genealogical reminis-
cences. In Santiago de Cuba, local santeros understood Santera to be a recent
phenomenon in the city, and most santeros recognized the same small group
of founders who either came from western Cuba or had traveled there to be
initiated (Millet 2000: 11011). Santeros would recount a familiar set of names,
always naming Reynerio Prez first. Reynerio Prez seems to have come to
Santiago from western Cuba as early as 19101912 (Millet 2000: 115; see also
Larduet Luaces 2001). He was renowned as a muertero for his work with spirits
of the dead. Reynerio was initiated as a santero in 1933 (Millet 2000: 117). A
charismatic figure, he had an enormous influence on religious practice in the
poorer Afro-Cuban neighborhoods of the city. He eventually initiated hun-
dreds of godchildren into both Santera and Palo.
In that same era spanning the 1930s and 1940s, there were a number of
other Santiagueros and migrants from other cities who had initiated in Ha-
vana or Matanzas, always the mainstays of Santera in Cuba. Santiago santeros
inevitably mentioned Rosa Torres in the same breath with Reynerio, as well as
others such as La China (Aurora Lamar), Amada Snchez, and Cunino (for
an oral history, see Millet 2000). Such conversations, or reminiscences, if the

santero was old enough, were easy enough to start. Sometimes, during inter-
views, santeros would begin to tell me or others present about this early era of
their own accord. Santeros would inevitably also include details about other
firsts in Santiago: so-and-so senior santero was the first Eleggua initiated by
Reynerio, or the first Obatal in Santiago, or the first female Ogn. They would
explain that the founders either came from western Cuba or were Santiagueros
who went to Havana or Matanzas to be initiated there. Most would sooner or
later repeat the famous phrase uttered by one of the founders to justify starting
initiations in Santiago: Is there no river in Santiago? No plants? So then, why
arent santeros initiated here? Interestingly, this famous phrase was attributed
to several different santeros, depending upon whom one asked.5
According to local oral history, Reynerio and Rosa presided over the golden
age of Santera in Santiago when everyone got along. In dozens of interviews
and conversations about the good old days, santeros would shake their heads
about how things had gone downhill since that time. Such nostalgia for the
good old days is hardly rare, but in this case it accompanied fears about ever-
increasing numbers of santeros.6 Prominent elder santeros, especially, worried
about the explosive growth of the religion, and their resulting lack of control
over such large numbers of santeros who all have their own ideas about what
is correct and what is permissible in the religion.
The story most commonly told to illustrate Santeras early rise to glory in
Santiago and its subsequent long descent into current chaos involves Reyne-
rio and his large family, most of whom have been initiated. Reynerios family
continues to be prominent in Santera. It includes highly regarded oriats (offi-
ciating priests) and singers and has a large role in the unique saints day proces-
sion through his old neighborhood in honor of Saint Brbaras day, December
4th (see figure 3.1). Reynerio was a son of Chang, who is identified with the
Catholic Saint Brbara. The procession stops at several houses of Reynerios kin
(figure 3.2), and large portraits of Reynerio and his wife are carried in front of
the platform bearing a large statue of Saint Brbara (figure 3.3). Through such
observances, Reynerios and all the founders legacies are keenly remembered.
Despite (or perhaps because of) the prestige Reynerios descendants con-
tinue to hold, most other santeros would with alacrity recount the fall of the
family. The familys gradual decline, according to one story I heard repeatedly,
began while Reynerio was still alive. No one in the family possessed the spiri-
tual authority of Reynerio, who seems to have been a powerful, larger-than-life
figure. Indeed, upon his death, when his saints were asked in a final divination
Figure 3.1. Procession through the neighborhoods of Los Hoyos and

Los Olmos for Santa Brbaras Day, December 4, 1999.
where they wanted to go, they refused to go with any other family member.
According to another often-repeated story, the cowries refused child and god-
child alike, until Reynerios youngest godchild was named. It was he, Vicente,
who received into his care Reynerios saints.7 For some santeros, Reynerios
mandate from beyond the grave censured his own family.
Spun out of gossip, such morality tales of Reynerios family vividly illus-
trate santeros fears about fallen religious ideals. When prominent santeros like
Reynerio, and more recently, Vicente, passed away, santeros lamented the loss
of ritual knowledge, because no powerful santero ever shares all of his secrets
with his godchildren. The community loses a pillar and also his expertise. In-
deed, with santeros rushing to initiate as many godchildren as possible, cutting
corners left and right, many santeros expressed fear that the growing popula-
tion of santeros would mean ever more dilute ritual knowledge.
Figure 3.2. The procession greets the Chang kept at the house
of one of Reynerio Prezs descendents.
Figure 3.3. Portraits of Reynerio Prez and his wife are carried in the procession by young
drummers initiated to his familys consecrated bat drum set.
At the same time, local santeros also recounted their progress in making
Santiago, by their account, the most vibrant religious community on the island.
Whereas in Reynerios day there were no consecrated bat drums in Santiago,
forcing people to hire consecrated bat from western Cuba, there are now sev-
eral sets in the city. Some santeros also made reference to increasing religious
openness in contrast to past repression. Indeed, wearing the bead necklaces and
bracelets of Santera had become practically a fashion fad among the young.
Some santeros would also make reference to increasing religious openness in
contrast to past repression. This state of affairs contrasts with earlier eras in
which santeros often practiced in secret. Now, despite a lingering social stigma
among the educated and white elites, most santeros I met did not seem to fear
expressing their religiosity openly.
Nonetheless, older and younger santeros alike expressed distaste for the con-
troversies, crassness, and blatant commercialization into which they suggested
Santera has fallen as it gains in popularity. As evidence of current decadence,
they cited numerous violations of ritual propriety, escalating ritual fees, and
bad blood between lineages whose founders had always cooperated.
Along with other lacunae of historical memory, Santiago santeros spoke of
the golden age of the founders as if there were no Santera prior to Reynerios
arrival. They have little to say in answer to the question of what came before
Reynerio. Was there really no Santera in Santiago before the late 1920s or early
1930s? While I cannot give a definitive answer, Santiago-born folklorist Rmu-
lo Lachataer, writing in the late 1930s and 1940s, mentioned Reynerio Prez
as the founder of Santera in the city (1992: 21113). In Lachataers account,
Santiagueros at the time understood Reynerio to be introducing something
new and different.
In the same passage, Lachataer mentions that Reynerios religious prac-
tices were novel in his use of Santeras Yoruba-language liturgy. Even today,
santeros and folklorists recognize a distinction between the canon of Lucum
songs performed in Santera ceremonies and an older corpus of songs that are
still performed in similar bemb ceremonies (festive drumming ceremonies)
in the city. In contrast to the mostly unintelligible Lucum songs of Santera,
the old bemb songs are mostly in Spanish, even when they name the same
Yoruba deities.8 Likewise, the rhythmic accompaniment of bemb songs may
not necessarily use bat drums or Lucum rhythms. Santeros and folklorists
recognize a distinction between the two types of songs, although santeros dif-
fer among themselves in how strictly they interpret what is an appropriate song
to accompany a ceremony. The old bemb songs add weight to the oral history
evidence, suggesting that prior to Reynerios era there were indeed Yoruba in-
fluences present in Santiago, but that Santiagos religious practitioners did not
differentiate something called Santera or perhaps even Regla de Ocha out of
the mix of religious practices.
In nineteenth-century colonial Cuba, during the slavery regime, Yoruba
orisha worship survived in colonial-era urban cabildos (Afro-Cuban religious
fraternities) and in pockets of religious activity among plantation slaves (Bar-
net 1994; Brandon 1993; Martinez Fur 1979; Ortiz 1973/1921, 1995/1906). The
30 years of struggles for independence from Spain between 1868 and 1898 were
a period of turmoil and population movement that resulted in slave emanci-
pation in 1886 (Ferrer 1999). Ex-slaves joined the struggle for independence;
civilians fled battles; political and economic exiles sought refuge outside the
country, then reentered as conditions shifted. During newly independent Cu-
bas First Republic after 1902, as the new nation recovered from war and built
its economy under the watchful eye of U.S. interests, social unrest and labor
demands led to internal migration as well as new immigration from abroad
(de la Fuente 2001; Fernndez Robaina 1994). Religious practices we now dis-
tinguish as Spiritism, Palo, and Santera were likely on the move during these
decades of the late nineteenth and early twentieth centuries (Romn 2002).
Spiritism in particular became popular among all social classes, proliferating
in many forms, often in combination with Catholic and African practices (Ar-
gelles Mederos and Hodge Limonta 1991; Brandon 1993: 8590; Lago Vieito
2001). There was undoubtedly a religious ferment at the turn of the twentieth
century, including the commingling of practices with distinct origins, much as
continues to occur today.
Perhaps just as significantly, dominant voices in the media represented
all such practices not as religions but as suspect primitive superstitions and
witchcraft. With the occasional exception of Spiritism, which because of its
European origins more visibly attracted upper-class clientele and practitioners,
these religions were otherwise closely associated with Afro-Cubans, although
whites, including elites, had participated in Afro-Cuban practices since colo-
nial times (Lago Vieito 2001; Palmi 2002a: 148, 19798; Urruta y Blanco 1882:
31170). Nonetheless, elites of the early republican era regarded people and
practices deemed Afro-Cuban with deep suspicion. It was in this climate that
Afro-Cubans struggled to be accepted as full citizens of the new Cuba (de la
Fuente 2001; Romn 2002).
Los Negros Brujos, 1906: Suspect witches in the new Cuban Republic
Fernando Ortiz, pioneer of Afro-Cuban folklore, was a seminal figure repre-

senting the nation-building ethos of the first republic. His early work captures
elite preoccupations with scientifically defined national progress and exempli-
fies how dominant sectors of society viewed Afro-Cuban witchcraft as dan-
gerous because it was antimodern. Born into wealth and privilege in Cuba to
a Spanish father and a Cuban mother, Ortiz spent much of his early life outside
of Cuba, aside from a few years studying law at the University of Havana. He
was much influenced by positivist scholars of criminology under whom he
studied in Spain and Italy, including the Italian criminologist Csare Lombroso
(Dianteill 1995; Riverend 1973). Ortizs first book, Los Negros Brujos (The Black
Witches), was, in the terms of the day, a criminal ethnology (Ortiz 1995/1906:
1). In it he took up Lombrosos theory of criminality as evolutionary degen-
eracy and followed the model of Bernaldo de Quirss 1901 study, La mala vida
en Madrid (Delinquency in Madrid) (Bronfman 2002).
What makes Ortizs work stand out is not his association of the Afro-Cu-
ban occult with the criminal, which was common enough (see for example
Israel Castellanos 1926 and Urruta y Blanco 1882; also see Hagedorn 2001:
199). Nor was Ortizs work much of an ethnography in the modern sense: he
culled his data on contemporary practices from police and newspaper reports
and confiscated ritual objects (see Mullen 1987: 115). Nevertheless his histori-
cal scholarship on Afro-Cuban experience was groundbreaking and eventually
transcended his initial racist framework. I discuss Ortizs work in some detail
in order to explore the valences of the suspicious stance and to show how a
folkloric stance slowly emerged alongside of it.
In essence, Ortiz distilled prevailing elite opinions about the crime of be-
ing black. He wrote Los Negros Brujos as the first in what was to be a series of
scientific studies of el hampa afrocubana (the Afro-Cuban underworld). In
his view at the time, just about any manifestation of Afro-Cuban volition was
an atavisma throwback to a primitive stage of ignorance and criminality.
Such atavisms, to quote his 1917 prologue to a later edition, hold back the
progress of the black population of Cuba (Ortiz 1995/1906: 16).
Progress was a major concern for the new Cuban nation after 1898, emerg-
ing as it was from the disarray of civil war and into a new arena of volatile
domestic politics amid intervention from the United States. In this era of na-
tion-building, Afro-Cubans who had fought Spain for independence were now
demanding a political role in the republic (Ferrer 1999: 710; Helg 1995: 34).
Afro-Cuban elites, especially, mobilized politically by networking among local

associations, forming political parties, and starting newspapers (de la Fuente
2001: 5152, 5578; Fernndez Robaina 1994: 46109; Helg 1995: 3539; Mon-
tejo Arrechea 1993: 80104; Rushing 1992: 32632, 33537). Out of this politi-
cal activity emerged the Partido Independiente de Color, whose demise at the
hands of the entrenched white elite culminated in the brutal massacre of sev-
eral thousand Afro-Cubans in 1912 (Aguirre 1974: 33753; Fernndez Robaina
1994: 2089; Helg 1995: 20925; Portuondo Linares 1950). Everything about the
rhetoric leading up to the massacres echoed the familiar colonial refrains about
the black peril.
In this context, Ortizs suspicious stance toward the Afro-Cuban sectors of
society reprised long-standing racial tensions. But it is also emblematic of a
newer historical narrative of progress, in which the modern nation was threat-
ened by its most backward constituents, Afro-Cubans (de la Fuente 2001: 50).
Interestingly, Ortiz faulted the Cuban social environment for holding Afro-
Cubans back as much as he did an intrinsically inferior African cultural level.
He expressly rejected the biologized scientific racism of his time, resorting
instead to what we might call cultural racism. Afro-Cuban criminality, in
Ortizs mind, was understood not as a political act [of resistance], but as a
lack of culture (Dianteill 1995: 19). His theory that a degrading environment
causes mental and moral underdevelopment among societys oppressed pre-
cluded any interpretation of Afro-Cuban activities as intelligent, let alone po-
litical, responses to repression. Deemed the products of ignorance, criminal-
ized practices and associations among Afro-Cubans delegitimized Afro-Cuban
struggles for justice and equality, instead legitimizing their oppression.
Within the context of heightening racial tensions, however, black witches
were more than a symbol of Afro-Cuban ignorance and more than a symptom
of social ills. Ortiz portrayed black witches as a real and direct criminal threat
to all Cubans, as we see in his sensationalist descriptions of witches murdering
children for black magic (Ortiz 1995/1906: 83, 1047, 15152, 16466, 172).
He additionally argued that their influence could corrupt vulnerable lower-
class white or almost-white populations, who also lacked mental development.
Steeped in ignorance and superstition, these parts of the population would
hold back national progress. Thus Ortiz claimed that witchcraft is an obstacle
to civilization (185).
The metaphors he invoked to explain the threat posed by black witches
counterposed superstition to science, which promised to lead the march of
progress. In one telling statement, he asserts that witchcraft is the petri dish
for the development of the criminal microbe contained in the psyche of the
witch (182).9 His metaphor blends the novel sciences of criminology and mi-
crobiology, both of which promised to cure ills of the individual and the social
body. Because Ortiz considered crime as much an epidemic as yellow fever,
he maintained that crime could be similarly cured by isolating the infectious
agents to prevent further contagion (18789). Indeed, he used the metaphor
of social hygiene in describing how to rid society of crime and superstition
(18587).
Ortiz was not alone in turning the threat of witchcraft into an epidemio-
logical issue.10 As Bronfman documents, police in the early republic relied on
public health and sanitation laws to prosecute witches, who were ostensibly
protected by new constitutional guarantees of religious freedom (1998: 56).
Ortiz took on the definition problem posed by the law, first acknowledging
that African religions exist in Cuba, then writing them off as primitive, amoral
stages of religion, in which the so-called priests also engaged in witchcraft
(see for example 1995/1906: 64, 128). In his early criminological analysis, black
witchcraft threatened modern progress in Cuba, which could be achieved only
by educating the populace to accept scientific advances.
The power of the hygiene metaphor derives from its links to the well-
established metaphor of contagion. Colonial and now republican elites feared
the contagion of too many black bodies on the island, the threat of contagious
diseases such as cholera and yellow fever among those black bodies, and the
contagion of insurrection among them, too. One proposed solution to what
elites called the islands Africanization was to whiten the collective Cuban
body by encouraging only white immigration. Discriminatory immigration
policies for this purpose were renewed in the early years of the republic, al-
though the demand for cheap labor soon brought an influx of Antillean labor-
ers to parts of the island where Haitians in particular were scapegoated and
demonized as newcomers and for being black (de la Fuente 2001: 4750: Helg
1990: 1014).
Ortiz proposed a different sort of whitening in Los Negros Brujos. He called
for de-Africanization of the Cuban population through education, together
with police efforts to isolate, prosecute, and reform those most intransigently
African figures, black witches (180200). His lurid accounts of their antisocial
activities left no doubt that they were a plague on society: murder, sexual devi-
ance, vengeance, mutilation and abuse of women and children, even necroph-
agy are featured in his accounts. By mobilizing the metaphor of contagion, he
could argue that these practices would not disappear on their own, but would
require scientifically driven efforts to eradicate them. Moreover, the historical

logic embedded in his suspicious stance made national progress incumbent
upon success in de-Africanizing the population.
Black magic becomes folklore, 1920s1940s
Denied equitable participation in mainstream Cuban society and persecuted

for activities deemed too African to assimilate into a new, modern nation,
Afro-Cubans nonetheless continued to struggle for self-definition and social
advancement by both assimilative and markedly African means. Afro-Cuban
religions continued to be practiced secretly much as they were during the co-
lonial era. The tragedy of 1912 effectively quashed national Afro-Cuban po-
litical organizing in the ensuing decades.11 The smaller-scale, local, and often
underground struggles were also masked by the nations strengthening ideol-
ogy of racial equality through mestizaje: the idea that the defining character
of Cubans is precisely their unique racial and cultural hybridity (de la Fuente
2001: 17692).12 Cubans reacting against U.S. imperialism mobilized this mes-
tizo Cubanidad in opposition to the yanquis, even as some Cubans imported
virulent U.S. models of racism (de la Fuente 2001: 2045; Fernndez Robaina
1994: 13435, 14146).
The ideology of mestizaje demanded that the African as well as the Eu-
ropean contributions to Cubanidad be revalorized as positive contributions.
Indeed, the 1920s are marked by the Cuban elites discovery of the treasure
of Afro-Cuban folklore. Inspired by the new nations ideology of a creolized
national identity, there arose a folkloric stance toward Afro-Cuban religions.
Fernando Ortiz emerged as the spokesperson and protector of what his con-
tinuing research, now with actual practitioners, led him to reinterpret as the
value of African contributions to creolized Cuban culture. He continued his
historical research on African-derived religions, ritual societies, and festivals,
as well as on the Cuban language, and later, Cuban music (see for example
1973/1921, 1981/1951). He tracked the African words that had come into the
Cuban lexicon and helped differentiate Cuban from other varieties of Spanish
(1922, 1924, 1991/1924). The national language, like the citizenry, was a little
bit Congo and a little bit Carabal. Out of his wide-ranging historical stud-
ies, Ortiz developed his Cuban answer to Herskovitss theory of acculturation
(1970/1947). Whereas acculturation focused on the survival of some African
cultural elements in the face of an overwhelmingly dominant European cul-
tural system, Ortizs notion of transculturation emphasized a more equitable
situation in which both sets of cultural influences could recombine to form

new hybrid forms, like Santera, that fused African and European religious
principles.
Instead of displaying confiscated ritual objects and mug shots of criminals,
Ortiz now arranged for folkloric performances of Afro-Cuban sacred music
and dance and organized journals dedicated to Cuban folklore and history. In
his wake, musicians, artists, and writers of the 1920s and 1930s self-consciously
incorporated Afro-Cuban elements into their own work in the movement
known as Afrocubanismo (Matibag 1996; R. Moore 1997; Mullen 1987; Rodr
guez 1994). While the movement paralleled the Harlem Renaissance, Garvey-
ism, and the rise of ngritude elsewhere in the Black Atlantic, Afrocubanismo
was primarily an artistic movement among (mostly white) Cuban elites. Schol-
ars of Afrocubanismo have noted its nationalistic political overtones, which
are apparent in its focus on black artistic and cultural contributions to an over-
arching Cubanidad (de la Fuente 2001; R. Moore 1997; K. Y. Morrison 1999).
Indeed, as Robin Moore argues, Afrocubanismo was highly ambivalent toward
Cuban blacks and contemporary Afro-Cuban cultural expressions, and middle
class black Cubans were highly critical of its stereotyped and exoticizing depic-
tions of them (1997: 21013, 22021).
The lasting impact of Afrocubanismo has been to delineate an Afro-Cuban
folklore that encompasses all cultural forms marked as African and to locate
these forms in a nationalist historical narrative of progress through racial and
cultural hybridization. Markedly African cultural forms in this brand of his-
torical consciousness are emblems of the past. The narratives present is the
moment of harmonious fusion of different cultural elements: Ortiz called this
the Cuban ajiaco or stew, while Afro-Cuban poet Nicols Guilln stated the
spirit of Cuba is mestizo (1972: 114, v.1; see also K. Y. Morrison 1999 and Ortiz
1973: 15455).
Construed as an historical anachronism, Afro-Cuban religion came to have
value primarily as a signifier of otherness in Cuban culture, as its nationalist
alter/native (Matibag 1996: 94). Living religious practices and practitioners
were transformed into icons of the past that could be comfortably encoun-
tered through folkloric performances, such as those first organized by Fer-
nando Ortiz himself (Hagedorn 2001: 197), or by reading works like folklorist
Lydia Cabreras El Monte (1993). Even ritual objects confiscated in police raids
were placed on display in the University of Havanas anthropology museum
(Bronfman 1998: 89). Meanwhile, the generation of African-born ex-slaves
and mambises, Afro-Cuban independence fighters, died out, and memories of
whose grandmother was Congo and whose grandfather was Carabal began to
fade. The African presence became the stuff of museums, scholarly histories,
literary flavor, and folkloric performances that informed elite imaginings of a
homogenous, mesticized present, in which racial problems were ignored or
relegated to the past.13
It was within this developing folkloric stance toward Afro-Cuban cultural
expression in general that the word Santera gained currency as a name for a
specific religion, initially among scholars and only later among practitioners.
In folklore studies circles, Lachataer was the first to advocate the term
Santera. In his book Oh, Mo Yemay!, first published in 1938, he initially
defined Santera, in its discriminatory sense as witchcraft, thus echoing the
suspicious stance Ortiz had held (1992: 9091). Lachataer pointed out that
the words embedded reference to the santos, or Catholic saints, suggested the
disfigurement of the original Yoruba beliefs in contact with Catholicism. In
almost the same breath, he described the perfect harmony of Santeras Yo-
ruba and Catholic blendtransculturation in action (1992: 9091).14
By emphasizing Santeras status as a creolized form and as a full and proper
religious system, Lachataer located it in the present, less a historical anach-
ronism than a syncretic symbol of a true and current Cubanidad. Like Ortiz
before him, Lachataer began to isolate out of the general background of pop-
ular religion and magic those Santera and Lucum practices conforming most
closely to European models of religion. One powerful rhetorical move was
to deploy properly religious labels such as priests, pantheon, and deities,
in contrast to negatively valued terms such as witches, spirits, and black
magic. The folkloric project of classifying and describing Afro-Cuban cul-
tural formsnot just Santera, but Palo and Abaku (a mens secret society
deriving from Calabar-area Efik/Ibibio societies), and the herbal lore, ritual
languages, music, dance, social organization, and ceremonies that charac-
terized themalso served to create the polarizations, described in chapter
2, that eventually differentiated Santera as the most perfectly syncretic and
most properly religion-like form among those comprising the popular reli-
gious complex.
Although the label Santera did not immediately catch on, other scholars
and practitioners contributed to the sanctification of Lucum practices as su-
perior among popular Afro-Cuban cultural forms. Some, including Havana
santero Nicolas Angarica in the 1950s, continued to refer to the Lucum reli-
gion.15 Angarica wrote several books on Lucum religion with the stated goal
of differentiating it from what folklorists like Ortiz and Cabrera (at least ini-
tially) had depicted as an undifferentiated tangle of Afro-Cuban folk beliefs

(see for example Cabrera 1993/1954).
The very fact that Angarica, an Afro-Cuban santero, sought to enter into
scholarly discourse about his religion, and that he emphasized his credentials
as an actual practitioner in doing so, demonstrates how much the new folkloric
discourse on Santera in the 1930s1950s differed from the criminal ethnol-
ogy era of Ortizs Los Negros Brujos. And yet, at no point did the folkloric
stance toward Santera fully supplant the suspicious stance. Angarica himself
recounts the persecution that forced practitioners to fiercely guard their reli-
gious secrets (n.d.b: 81). An examination of Angaricas books in light of works
by other folklorists allows us to consider the interactions among the three eval-
uative stances toward Santera during the latter part of Cubas second republic
in the 1940s and 1950s. The intercultural space generated by their interactions
was rife with tensions, especially where partial congruence between two stanc-
es provided new opportunities but also opened up new contradictions. The
sacred and folkloric stances might agree that Santera had value, but for rather
different reasons. Although the folkloric stance gave Santera a new cachet,
it did so at a cost to the sacred stance. Santeros found themselves squeezed
between ongoing repression and the tantalizing, but secularizing, potential of
folkloricization. This double bind arose in part because santeros and folklorists
increasingly jostled to control how Santeras sacred stance would be portrayed
in folkloric accounts and performances.
Competing interpretations of Santera

The emergence of folklorists with claims to religious insidership had a sig-
nificant impact on the sacred stance. On one hand, the folkloric stance could
augment public acceptance of the sacred stance by giving voice to actual prac-
titioners. However, the folkloric ethos of disclosure and secular explanation
came into conflict with tenets of the sacred stance, not least by reducing what
santeros understood as living worship practices with profound spiritual con-
sequences into quaint, decontextualizable components: dances, songs, divina-
tions, altars. Let us examine how the emblematic folklorists Ortiz, Lachataer,
Cabrera, and Angarica straddled the metacultural divides before them.
Angarica, an Afro-Cuban autodidact of humble origins, was a santero in
Havana (Dianteill 2000: 21820). Lachataer, a mulatto from Santiago, ap-
parently resented his exclusion from the elite, white academy that embraced
Ortiz, but turned that outsidership into a virtue by claiming an insidership-
by-racial-association in Santera. It is unclear whether Lachataer, who came

from a prestigious family in less color-bound Santiago de Cuba, was actually a
practitioner.16 Certainly, there would have been social distance between mulat-
tos from politically connected families and black residents of poor neighbor-
hoods where Santera first took root in Santiago. Meanwhile, a new generation
of folklorists from the white elite, epitomized by Lydia Cabrera, touted their
connections among poor, Afro-Cuban practitioners, even as they projected a
certain ironic distance from their informants beliefs.17
These various degrees of insider folklorists raised authenticity as a new
concern of the folkloric stance. Consider how Ortiz opens a 1937 article entitled
The sacred music of the Yoruba blacks in Cuba. Ortiz originally presented
the article as an introductory talk at a performance of sacred Yoruba music.
He begins with a Lucum invocation, as if opening an actual religious ritual.
He does not translate the Lucum words, but instead switches to an exegetical
voice to explain their religious function:
Agg Il! Agg Ya! Agg Olofi! Olum mbaa!
These phrases and ritual gestures are a simple invocation to the Yo-
ruba gods, so that, in reproducing their chants, the spirits do not take
offense and stop treating us with pious benignity.18
Note the multivocality of his voicing, somewhere between believer and
folklorist. By voicing what he then glosses as the authentic religious opening
to a real ceremony, and by including himself and those present usas
the beneficiaries of the spirits goodwill, Ortiz is playing along the boundaries
between sacred and folkloric performance. His gesture promises that the per-
formance will be authentic, because the great folklorist does what any santero
would do, even if we are left suspecting that his delivery is primarily tongue-
in-cheek and theatrical. That is, he momentarily inhabits the sacred stance, but
within the larger frame provided by his now-solidly folkloric stance toward
Santera.
Fernando Ortizs transition from what I have called the suspicious to the
folkloric stance toward Santera is well known. Indeed, both Cuban and in-
ternational scholars have lauded his role in revalorizing Afro-Cuban cultural
forms by bringing them to the attention of the mainstream (Hagedorn 2001:
17374, 19394). However, Ortizs personal transition does not indicate a com-
plete social transformation, as Hagedorn suggests when she concludes that
the criminalization of sacred practice was gradually replaced with spectacle-
ization (197). The folkloric stance toward Santera never fully supplanted the
suspicious stance in broader society. Instead, both secular stances continued

(and continue) to coexist, each carving out a distinct discursive space associat-
ed with the distinct institutions to which each anchored (police brotherhoods
on one hand and folklore societies on the other, for example) and holding
distinct versions of historical consciousness. Their coexistence alongside the
sacred stance of practitioners produced a rich, complex interspace for negoti-
ating Santeras social value, one permeated by dynamics of social power. Thus
could Angarica enter the scholarly debate of the 1950s to critique Cabreras
understanding of Afro-Cuban traditions at the same time that he reported suf-
fering recriminations for his beliefs as recently as 1944. Santera practitioners
continued to experience police harassment and to keep their practices under-
ground throughout the republican era, and few were in a position to enter into
the scholarly discussion. I suspect that they attended Ortizs folklore lectures
and demonstrations only in their capacity as authentic performers.
If Ortizs work transitioned between two very different secular stances to-
ward Santera, Angarica straddled the sacred and folkloric stances in his books.
The prologue writer for two Angarica books, Dr. Jos Roque de la Nuez, signs
off with his ritual name, which suggests that he, too, straddled interpretive
stances. In his prologue to the first book, Lucum al alcance de todos (Lucum
within everyones reach), Roque de la Nuez decries those modern writers who
have shaped public opinion by creating a state of make-believe (un estado de
Confeccionismo) contrary to anything professed by practitioners of African
religions, who never have put into practice HUMAN SACRIFICE, as has been
erroneously circulated (Angarica n.d.a: 3). Roque de la Nuez refers here to
ongoing sensationalist journalism about black witches ritually murdering chil-
dren (echoes of Ortiz)journalism that insidiously played to an entrenched
suspicious stance.
Angaricas books themselves have had a double trajectory, serving as con-
tributions to folkloric understanding and as instruction manuals intended for
religious practitioners. Angarica addresses commentators and lecturers in
his introduction, but writes to Iguoros, a Lucum word meaning priestsre-
ligious insidersthroughout the main text.19 Santeros then and now have cer-
tainly taken up Angaricas work in the tradition of libretas de santo (sacred
notebooks), which Len has described as written oral tradition (1971: 139).
Indeed, many santeros have copied entire portions of Angaricas books into
their personal notebooks. Santeros simultaneously decry his willingness to
publish secrets and eagerly consult what have gained the status of canonical
texts within Santera.
Why was Angarica, a santero, willing to publish religious secrets? Perhaps

his motives are evident when he explains how santeros were often afraid to
teach even their own children for fear of being discovered. Rather than lose the
precious knowledge or see the religion further distorted, he may have decided
to ensure its, and perhaps his own, posterity by tapping into folkloric interest.
Then too, as Dianteill argues, he may have wished to convey a legitimate im-
age of the Lucum religion (2000: 262).
Angaricas books have been more successful than he could have imagined.
Unlike Ortizs books, which have been regularly republished over the years
by Cuban state and American university presses, Angaricas books have been
reproduced in an underground economy. Indeed, if plagiarism is the highest
honor, Angarica would be pleased to know that botnica shops from New York
to Havana carry photocopies or retyped versions of his books, which may or
may not advertise his authorship or even bear his name. Only Lydia Cabreras
often-cribbed El Monte (1954) and Anag (1958), a Lucum glossary, seem to
have attained equal honor as religious canon on the streets of Havana and in
the notebooks of santeros (see Dianteill 2000: 22829).
Angaricas books, in their ongoing circulation, trace out the double binds
that the two secular stances created for santeros. The continuing metaculture of
suspicion toward things Afro-Cuban forced most practitioners to stay under-
ground, whether they were impoverished, ghettoized blacks or wealthy whites
sneaking out for a ceremony. The emerging folkloric stance gave Santera a
new cultural cachet, but only when mediated by the distancing discourses of
historical research or folkloric performance. Folklore sought to reveal what
was hidden and explain what was occult, creating a new double bind for sante-
ros, who might have enjoyed the attention but certainly feared the social and
spiritual consequences of revealing their secrets.
I have already suggested that the folkloric stance arose and persists because
of its relationship to a compelling ideology of national identity based on cre-
olization. The object called Santera can be made to fit this ideology, espe-
cially if Santera is construed not as Lucum or even Afro-Cuban but as just
plain Cuban (as some Cuban folklorists I spoke with would have it). Within
the ideological matrix of a creolized nation, a santero resisting the urge to
relegate his superstitions to the past and reveal his secrets remains marginal-
ized, cut off from the new commercial possibilities offered by folklore. In the
realm of political life, too, republican elites and then later the Revolutionary
state mobilized the same national ideology to condemn black Cubans as racist,
counterrevolutionary, and unpatriotic if they insisted on addressing racism or
recognizing a separate black culture (de la Fuente 2001: 34). This marginaliza-
tion or appropriation of any explicitly Afro-Cuban stance, whether religious or
political, fits the hegemonic workings of a mestizo national ideology, as schol-
ars have shown for other Latin American contexts (Rahier 2003; Wade 2001;
Williams 1991; Wright 1990). Indeed, one common aspect of a national myth
of mestizaje is to sustain contradictory attitudes of both pride in African-
influenced culture and persistent bias (R. Moore 1997: 15), an ambivalence we
can now account for as the result of interacting interpretive stances.
Contemporary metacultural double binds
It is hard to avoid slipping into the present tense when discussing how the sec-
ular stances of suspicion and folklore pose difficulties for anyone who has ad-
opted a sacred stance toward Santera. The same three stances toward Santera
continue to coexist in early twenty-first-century Cuba, and the tensions among
them continue to give Santera a place of prominence, while generating quan-
daries for santeros.
Let us return to the Museum of the Yoruba Cultural Association where the
chapter began and revisit its bulletin board. The notice calling for good ritual
hygiene to combat the spread of dengue-carrying mosquitos, as benevolent
and reasonable as it may seem, indicates that the suspicious stance toward
Santera has survived, fitting neatly into the Revolutions scientific socialist
framework alongside the folkloric stance that allows a religious association
to open a museum.20 As it turns out, this notice was part of a larger public
health initiative against dengue that targeted supposedly unsanitary religious
practices like maintaining vessels of sacred water on altars. A santero in San-
tiago had told me of visits from public health inspectors during an outbreak
of dengue in the mid-1990s when they insisted that santeros throw away the
unhygienic water, water santeros regard as holy and potent. These visits were
insulting and traumatic for santeros, not least because they evoked an earlier,
pre-Revolutionary era during which police raided practitioners homes, de-
stroying or confiscating their sacred objects, also in the name of public health
and hygiene (Angarica n.d.b: 81; de la Fuente 2001: 5051, 352 n.115; Hagedorn
2001: 10715).
The public health initiative fits into a larger pattern of ongoing official sus-
picions about Afro-Cuban religions. In a paper presented at an American An-
thropological Association conference in 2001, Cuban researcher Marcos Marin
Llanes discussed public health concerns about santeros, who, the researcher
suggested, were ignorant of health issues because they lack cultural sophis-
tication. Meanwhile, well-intentioned researchers, civil servants, and police
perpetuate the harassment of santeros. Many santeros I met had stories about
police interfering in Santera rituals, even carting all the participants off to
jail because practitioners had failed to obtain licenses to hold the ceremonies
as the law requires. Nor are civil servants alone in their nagging suspicions.
In Santiago, stories continue to circulate about santeros purportedly arrested
for sacrificing children in rituals. Three university professors and a santero
separately described to me a recent case (no one could remember the year) in
which a child victim had been a disabled relative of one of the alleged perpetra-
tors.
The old suspicion that Santera is linked to crime occasionally gets smug-
gled into recent scholarship. Take, for example, Argelles and Hodge Limontas
account of Cubas syncretic religions (1991), an account that ostensibly adopts
the folkloric stance. While they reject the Revolutions initial hard-line position
that religious adherence is counterrevolutionary, they nonetheless conclude
that believers tend to be found in less educated and less politically active (that
is, less revolutionary) sectors of society. They also use their data to support
what they describe as a mesticizing of religious practitioners as more poor
whites succumb to the attraction of religions like Santera (147). In such claims,
we find the covert return of the contagion metaphor, together with the im-
plication that superstitions like Santera will disappear with the education of
adherents. In an even clearer continuation of the suspicious stance, Argelles
and Hodge Limonta briefly reprise the criminal link to religion when they
point out that unauthorized religious activity has caused problems in prisons
(16770).
Suspicion haunts Argelles and Hodge Limontas text even as they assert
their folkloric stance most strenuously. In a discussion of the Revolutions im-
pact on religious practices in Cuba, the authors argue that it rescued the Afro-
Cuban folk heritage from obscurity by revalorizing it (14245). Implicit in this
claim, of course, is that Santera is something from a darker age. By folkloriciz-
ing Santera, by setting it into a historical narrative where it is doomed to die
out unless preserved explicitly by folklorists, the authors imply that Santeras
role in that narrative is as a remnant of Cubas past.21 For the suspicious stance
still embedded in Revolutionary notions of scientific progress, the current fluo
rescence of popular religiosity must be disturbing indeed, since it signals the
Revolutions apparent failure to sufficiently educate and raise its populace out
of crime and superstition.
The doble moral of Santera today

An encounter I had while visiting the Museum of the Yoruba Cultural As-
sociation illustrates how religious practitioners themselves navigate the inter-
space produced by conflicting evaluative stances toward their religion. As I
stood reading the bulletin board, a man entered from the street, glanced at
the guards, and sidled over to talk with me. He showed me his Association
card to prove that he was a legitimate babalawo and surreptitiously offered
to give me an inexpensive If consultation in his home or lead me to a pala-
dar, a private (sometimes illegal) restaurant. By approaching me to offer these
services, the babalawo enacted the all-too-common role of what Cubans call a
jinetero (hustler), one who makes a living by guiding tourists into the mostly
underground economy of private dining and lodging, prostitution, and other
subversions and co-optings of the state-run tourist economy. In seeking to
recruit me as a paying client for his religious services, the babalawo engaged in
a behavior that many religious practitioners I know would condemn as com-
mercializing the religion.
My field consultants in Santiago were quite familiar with the double bind
of the babalawo in the museum. He was, we might say, trapped by economic
circumstances into taking an opportunity to commercialize his religion, even
if doing so was questionable both in its legality and its religious implications.
In the eyes of some santeros, those who aid in the folkloricization of Santera
are also guilty of commercializing the religion.
Santeros recognized these double binds, even referring to them as inducing
a case of la doble moral (double morality), a term Cubans use to describe
the problematics of taking contradictory public and private stances, namely
espousing Revolutionary values while discretely subverting those values in the
name of economic or political survival. The ongoing special period in time
of peace, declared in 1990 after the 1989 collapse of the Soviet Union and its
support of the Cuban economy, has made such double morality endemic. The
government radically changed course to prevent complete economic collapse
by rapidly developing a new tourism economy and legalizing the dollar to bet-
ter channel the flow of remittances from abroad into state enterprises like dol-
lar stores. This new economy has introduced gross distortions of the classless
socialist ideal that still circulates in official calls for citizens to sacrifice in order
to save the fatherland. Revolutionary fervor is harder to come by when only a
small minority of Cubans directly benefit from official work in tourism and the
dollar economy, while everyone else continues to experience severe shortages,
stagnant wages, and rising prices.
Desperate economic times have forced all Cubans, not just santeros, to
cope with hardships by inventing (their word) often morally dubious or
illegal private, entrepreneurial activities to generate income in dollars. Those
without officially sanctioned jobs in tourism have found ways to unofficially
tap into the new tourist-driven dollar economy, often by offering services to
tourists: operating private taxis, offering unlicenced rooms for rent, open-
ing speakeasy-style private restaurants, and even engaging in jineterismo
(hustling and prostitution).22 Some stalwart supporters of the Revolution la-
mented the situation that forced them to resort to illegal means to feed their
families; for others, these activities were necessary adaptations to circum-
stances or were everyday acts of private resistance against the constraints of
the system.
Caught in a moral conundrum, to salvage the Revolution or to scrape
together enough dollars to make ends meet, Cubans joked about living a
doble moral in which one publicly supports the Revolution and decries as
counterrevolutionary the very activities one privately conducts in order to
survive. To dwell on the contradictions of living the doble moral is to court
insanity, as filmmaker Fernando Prez teases out in the 1998 film La Vida
Es Silbar (Life Is to Whistle). In the film, a psychologist takes his patient on
a tour of downtown Havana to demonstrate to her that she is not alone in
having a complex that makes her faint when she hears the word sex. The
psychologist demonstrates that people on the street drop like flies when he
says doble moral.
From the 1960s until the late 1980s, some religious Cubans practiced their
own brand of the doble moral because the Revolutionary state discouraged re-
ligiosity by withholding privileges such as university scholarships, certain jobs,
and party membership from those who publicly declared their faith.23 Many
santeros told me that they had practiced in secret while maintaining a publicly
atheistic stance, thus living what they described as a doble moral. In one con-
versation, a santero-folklorist pointedly asked me what I would have done had
my chance to attend university hinged on denying my religion. He went on to
describe how some practitioners became folklore researchers or performers in
order to find an officially sanctioned cover for their religious interests with-
out losing their privileges. When the official climate toward religiosity thawed
in the early 1990s, he said, many of his colleagues began to get initiated and
to openly wear their religious beads (an observation also recorded in Wedel
[2004: 35]).
The contemporary practice of the doble moral may also have deep roots
in resistance strategies adopted by enslaved Africans who engaged in various

types of subterfuge for their very survival, including disguising the worship of
their own deities under the cover of Catholicism. Even today, the doble moral
sometimes seems to be a means of covert resistance and is linked to critiques of
the Revolution, but it is equally if not better thought of as a pragmatic strategy
of coping with political and economic constraints.
I heard many Cubans, including santeros, make circumspect criticisms of
the Revolution. People sometimes spoke sadly of their government falling
short of Revolutionary goals and ideals they believed in. They lamented that
the Revolutions promises for a better quality of life had been betrayed by the
hardships of the special period. The santeros who offered critiques in my pres-
ence tended to be well educated and sometimes, though not always, occupied
the dual positions of being both private religious practitioners and state-sala-
ried researchers. For example, one santero-folklorist I interviewed in 1999 ex-
pressed his disillusionment with the Revolution as a reason for having turned
to religion some 25 years earlier.
There was an epoch before my initiation as a santero in which, here in
Cuba . . . the cult of men was practiced, because of their ideas and their
histories. And Ilike all who belong to my generationjoined into this
current of believing in men. Until one moment in which I stopped be-
lieving in men, and I had the need to find someone in whom to believe.
And then I arrived at this religion. I liked it, I began to believe in the
gods, and here I am.24
This santeros profession as a state-employed folklorist requires him to
represent the states official stance that Santera is part of the nations folk
heritagea heritage to be studied, represented by museums, enacted in per-
formances, even promoted to foreign tourists, but certainly not to be wor-
shipped. His story, however, reverses the official order by having him arrive
at religion as a replacement for faith in the Revolution. I heard similarly
subversive narratives from a number of santero-researchers explaining their
choice to become religious. Moreover, as professional folklorists they lived
the reality of all professionals during the special period: their peso-salaries
amounted to perhaps $20 a month in a consumer economy of hard-currency
prices, in which hotel maids and taxi drivers earned far more in tips than
any professional could match in regular salary. In this economic climate,
santeros often took the pragmatic line that the saints help those who help
themselves.
Competing moralities
As Cubans themselves explain it, the doble moral is alsoperhaps primar-
ilyan ever-evolving pragmatic response to the limitations and opportunities
of the moment. The states project of folkloricizing Santera has presented
new opportunities for private entrepreneurs, including santeros, to explore
the commercial potential of santurismo or Santera-tourism (Hagedorn 2001:
9, 22022). Santurismo, alongside folkloricization, has contributed to making
Santera highly visible in contemporary Cuba. The special period has acceler-
ated the states promotion of a folkloric stance toward Santera, but now with
the goal of converting foreign tourists curiosity about the exotic into dollars:
public performances of ceremonies; museums of religious altars; books, CDs,
and religious dolls and trinkets for sale; even folklore study-tours and inter-
national conferences for the adventurous. In response, santeros worry about
the corrosive effect of the states incursions and the new commercial ethos
on sacred values. Many of the santeros I interviewed were quick to point out
other santeros transgressionsincluding overcharging for religious ceremo-
nies; initiating new priests, especially rich foreigners, out of greed rather than
divine injunction; and trading religious secrets for dollarseven while they
too tended to act pragmatically to resolve their own economic difficulties.
Santeros themselves have discovered the commercial potential of religious
entrepreneurship, creating a new form of doble moral. Despite a constant cho-
rus of concerns about other santeros commercializing the religion, santeros
are proud of their own stables of foreign godchildren, and some actively seek
out foreigners who will pay in dollars for a ceremony or consultation. The rise
of religious practitioners who see the folkloric-cum-commercial potential of
the sacred has everything to do with the success of the folkloric stance. In later
chapters, these dynamics will repeatedly emerge in terms of tensions between
communal values and personal interests and in terms of the critiques and con-
troversies that help hold the community together. In one instance, described
more completely in chapter 7, I witnessed how the religious initiation of a Eu-
ropean visitor erupted into a bitter controversy between two groups of practi-
tioners in Santiago. The issue was ostensibly over whether the new European
santero would be allowed to undergo a second initiation into If. Each group
accused the other side of allowing its financial interest to trump its sacred
duty. In this and countless other situations I witnessed, santeros positioned
themselves within a sacred domain and critiqued other santeros by trying to
position them outside this domain as financially interested.25
Santeros also worked to preempt criticism by trying to present their own
motives as purely religious. Such positioning could get especially tricky when
someone regularly crossed between sacred and folkloric stances as a santero
and researcher. While I sometimes heard folklorists justify their research to
other santeros by referring to the importance of scholarly inquiry, all knew that
being a folklore researcher or performer gives access to foreigners and their
cash. By virtue of occupation, researchers, and to a lesser extent performers,
garnered higher overall social status than those who lived completely in the in-
formal economy carved out by religious activity. Members of both occupations
could hope to travel abroad or to work in some capacity with or for foreign
tourists. While performers mediated sacred culture for tourist consumption,
folklorists, too, could cash in on their middleman status between santeros and
foreigners, either directly by serving as specialized informal tour guides or
indirectly by writing books or producing recordings. In the hard scrabble to
resolve financial difficulties, santeros without connections to the state-spon-
sored folklore institutions sometimes expressed resentment toward those who
worked as folklorists or who collaborated with them. Folklorists, then, became
especially suspect for commercializing the religion.
My teacher and godfather Emilio occupied such a dual role, as folklorist
and as santero. His occupation gave him high visibility in the community, with
which came prestige and wealth but also close scrutiny from all sides. Work-
ing as he did with foreigners, Emilio took special care of his image among
other santeros. On one particularly dramatic occasion, Emilio made a state-
ment before me and an entire assembled family of santeros we were visiting.26
The occasion was the evening of San Lzaros Day, and we were hiking around
the city, my video camera in tow, to record how people in traditionally Afro-
Cuban neighborhoods celebrate this venerated saint. When Emilio made his
statement, we were seated with about eight people in a living room, the corner
of which had an enormous altar to San Lzaro, complete with an almost life-
sized statue of the saint, beautifully dressed in purple robes. The lady of the
house had been answering my questions about her religious practice, but as
the interview proceeded, she would often defer to Emilio, the profe or Prof
as people addressed him on the street.
Emilio eventually took over the interview, and with my camera trained ex-
clusively on him, continued to explain various points of Santeras history in
the city. A tambor singer who lived on the street popped his head in the door to
greet us, which started Emilio critiquing another well-known singer, Germn,
for too blatantly working to get gifts out of saints who possessed their devotees
during such ceremonies. He went on: There are people who sell Santera. They
seek in Santera only the commercial part. That should not be done. While
critiquing how other santeros commercialize the religion, the irony of having
arrived at the house with me and my shiny video recorder must have hit him
because he rapidly shifted gears and eloquently began to reprimand me as if I
had been pestering him to share religious secrets:
No matter who you are, however many dollars you have, never will I
tell you what is done within the sacred room. For this you have to initiate.
There are people who dont follow this.
His demeanor changed from friendly professor expounding on what he
knows best to stern santero wagging his finger while renouncing the allure of
my foreignness, my dollars, and my questions. He attested to the camera and to
all present that he would not violate his religious code of silence about the se-
crets of initiation. Managing his dual role as respected folklorist (with me, his
foreign student) and santero (with me, a potential initiate) meant straddling
the doble moral of showing respect for religious values while being perceived
as pursuing his financial interest in working with me.
While santero-folklorists like Emilio are under special scrutiny by the
state and other santeros because of their dual roles, many santeros now find
opportunities to come into contact with foreigners. I found that even as they
critiqued folklorists for violating the Regla and betraying religious secrets,
santeros without official connections were nonetheless quick to play the folk-
lore expert when a situation (such as my appearance at their door) presented
itself. Whatever their situation, those assuming both sacred and folkloric
stances toward Santera needed to straddle the doble moral of respecting
religious values (or Revolutionary values of folklore) while pursuing their
own financial interest.
Conclusion
In this chapter I have sought to account for Santeras current prominence and
ambivalent position as the quintessential Cuban/Afro-Cuban religion by argu-
ing that it is the consequence of an ongoing, long-term historical pattern of
interactions among three distinct metacultural stances toward Santera. These
stances toward Santera have offered up competing visions of what Santera is
and what value it has for Cuban society. Each stance represents different histor-
ical narratives with distinct sensibilities about the role of an African presence
in the development of the Cuban nation. A comparison of early contributors
to folklore studies illustrates how the three stances toward Santera have inter-
acted to produce various double binds for religious practitioners that have fed
into the overarching doble moral that has characterized Cuban society during
the Revolution, especially since the 1990s. In the case of the well-known doble
moral of disguising religiosity as interest in folklore, folkloric promotion of
Santera may have actually encouraged participation in Santera, though with
the twin dangers of infecting sacred practice with commercial interest or of
questioning the Revolutions success by resorting to outdated superstition. The
special period of the 1990s has induced santeros to continue to straddle the
sacred and the folkloric stances less out of fear than to cash in on Santeras
commercial potential. Angaricas passing complaint in the 1950s about santeros
using religion for profit suggests that this contemporary double bind, too, has
had a long historical trajectorylonger perhaps than contemporary santeros
realize.
Having thus set Santera in broader context and raised some of the issues
of identity, practice, and belonging that santeros face, in subsequent chapters I
examine the interpretation of religious experience and the building of religious
community among santeros in Santiago de Cuba. The competing evaluative
stances I have sketched in broad historical terms will reappear as positions
santeros fluidly align themselves with or against in the course of the localized,
face-to-face interactions that make up much of daily life. Rather than seeing
these stances as context in which the text of everyday life unfolds, I wish to
emphasize the creative role of everyday life and discourse in generating them.
That is, each time someone invokes a stance, they add a link to an ongoing
speech chain, through which are constituted the cultural and metacultural
forms that we experience as tangible, replicable, and historically continuous
(or perhaps occasionally novel) culture.
II
Religious Experience
4
From Skepticism to Faith

Narratives of Religious Experience
The gods toss all life into confusion . . . that all of us, from our ignorance
and uncertainty may pay them the more worship and reverence.
Euripides, Hecuba (l. 956)
Living in Santiago surrounded by santeros, I was immersed in a world of por-

tentous signs. I could not stay on the sidelines and merely observe a ritual or
conduct an interview, because more often than not the deities would direct a
warning or piece of advice to me. She will have to make the saint, an older
santera once said to Emilio while we were interviewing her, interrupting her
own answer to one of my questions. Obatal is her angel, isnt he?1 At this,
Emilio laughed loudly and gave me a significant glance. Yes, indeed! For
him, the santeras sudden inspiration was a divine communication. She was,
we might say, channeling her own angel in that moment. As it happened,
Emilio was already convinced that I am a daughter of the oricha Obatal and
will eventually have to be initiated.2 During a special divination ceremony we
had attended several months earlier, the officiating priest had interpreted one
sign from the cowrie shells to mean that someone in the room had to initi-
ate. Since all present but I were already santeros, they quickly surmised that
the message of the cowrie oracle was directed to me. And now, months later,
here was additional proof, una comprobacin. Emilio strove to teach me how
to recognize proofs of divine communication, usually by presenting narrative
models in which he or others moved from skepticism to faith. It was as if he
were showing me a map of how to cross over into faith.
Even amid my metaphysical uncertainties, my agnostic skepticism always
struggling with my romantic desire for design in the universe, I marvel at how
the web of divine signs envelops anyone involved in Santera or related popu-
lar religious practices. When I am in Santiago among my religious friends,

the universe seems populated with causal forces I was not aware of elsewhere.
Every event in life is at least potentially imbued with sacred meaning. And yet
I found santeros to be a skeptical bunch who are quick to debunk fakes and
exaggerations. They are very concerned with pruebas (tests, proof) and com-
probacin (proof, confirmation). How does the logic of the sacred stance work
for them?
In part 2 I delve into the sacred stance that I counterposed to other common
stances toward Afro-Cuban religions in the previous chapter. Practitioners and
ethnographic observers alike perceive in Santera a durable, shared cosmovi-
sionGeertzs envisaged cosmic order (1973: 90).3 I suggest that this sense of
a shared cosmovision emerges out of the repeated actions of practitioners, who
consistently deploy a particular sacred interpretive stance to interpret events
in their experience as evidence of that cosmic order. There is an almost tauto-
logical problem at the heart of the dynamics through which stance shapes ex-
perience and experience reinforces stance. That is, the envisaged cosmic order
comes to seem presupposed, even as each relevant event entails it anew.
In this chapter I consider how the observer on the thresholdthe reluc-
tantly intrigued participantcan learn why any particular experience counts
to a particular religious participant as an experience of the sacred, a divine
communication, a sign. My first task will be to examine santeros accounts
of religious experiences in order to develop an analytical framework for un-
derstanding what religious experiences are and how they are recognized (by
religious practitioners or ethnographers). At the end of the chapter, I turn to
the question of how rituals contribute to the interpretation of events as reli-
gious experiences. I focus in particular on santeros understanding of rituals
as methods of divine communication. Then in chapter 5, I look more closely at
the interaction between ritual and reflective discourse about ritual in generat-
ing publicly negotiable and intersubjective experiences. Throughout, I straddle
and ask the reader to straddle that distinctive interspace between ethnographic
analysis and the sacred stance.4
Little pinches from Ochn

Ochn, oricha of feminine sensuality and of sweet water, signals her presence
when she possesses a devotee by laughing. The possessed devotee, as often male
as female, will punctuate her dance and speech with peals of highly stylized,
high-pitched laughter: Ha! Ha! Ha! But santeros say to beware of Ochns
From Skepticism to Faith: Narratives of Religious Experience 83
laughter, because, in a reversal common to possession trance, her laughter of-

ten signals her displeasure.
Emilio, whose principal oricha (angel) is Ochn, often waxed eloquent
about her beauty and graciousness. He lovingly danced her gracious, rippling
dance, so like a river, and plied her altar with honey, squash, gold cloth, and
other offerings she favored. But just as rivers can flood and honeybees can
sting, Ochn is volatile and demanding of her devotees. Emilio and other
santeros recounted to me the trials Ochn and all orichas would bring down
upon their devotees: poor health, financial misfortune. Any sort of problem
at all could be a divine message. In one conversation, Emilio referred to these
trials as little pinches from Ochn.
Within Santera they say little pinches from Ochn. Those are little
pinches because she makes something bad befall you so that you will re-
act. . . . Ochn says it like this when she says, You are my child. Sooner or
later you will have to make the saint. . . . She always gives [her children]
trials, trials, trials, until they make the saint.5
He explained that an oricha brings trouble to a devotee in order to compel
the devotee to pay attention to the orichas desires. Their most common desire
is for their devotee to make the saint (be initiated). Indeed, most santeros
were firm that initiation into Santera is not something a person chooses.
Rather, the orichas do the choosing, and they inform their chosen ones of
their selection by causing trouble for them. In Emilios case, he suffered an
unbelievable string of robberies, in which his house was repeatedly emptied
out, before he heeded Ochns call to be initiated as her child. Later in the
chapter I will examine one version of his narrative in which he recounts how
he came to believe.
Emilios description of sometimes not-so-little pinches from Ochn reso-
nates with Hecubas lament in the chapter epigraph. Like Job in the Old Testa-
ment, santeros interpret their suffering as a divine message, which is to say, as
a particular kind of religious experience. The central question I consider in
this chapter is how devotees come to recognize certain events that befall them
as religious experiencesas divine blessings or punishments. As a corollary
question, I ask what we can do with the principal data we have of religious ex-
periences, which consist of first-person reports. I consider what santeros nar-
ratives of religious experiences can tell us more generally about this category
of experience. One critically important angle to be examined is the role of
narratives in the circulation of shared understandings of the kinds of events
divine messages, hierophanies, ecstasies, agonies, possession trances, little

pinchesthat trigger or can be interpreted as potentially sacred experiences.
But beyond the expectations generated by proper context and performance, it
is possible to examine how participants in a ritual, for example, come to inter-
pret or reject (and often opinions vary) any particular instance as a bona fide
religious experience.
My approach in the first part of the chapter will be to examine how santeros
narrate and narrativize their experiences of divine intervention, which is a nec-
essarily retrospective process. My particular interest is in what I call narratives
of conversion, in which santeros recount the experiences through which they
decided to get initiated. Such decisions are particularly suggestive because they
so often involve a transformation in a persons orientation toward the religious
potential in events, and their accounts make explicit the evaluative process a
person recalls using to reach a religious interpretation of their experiences.
Moreover, the implications santeros built into their narratives of conversion
reach out into the present and future, enveloping me and other interlocutors
in a world of religious potentiality and divine potency.
Look, I didnt believe, began Emilios elderly godfather, when I asked him
when and why he had initiated into Santera.6 I was unbelieving, during my
youth, I went through it without believing. He then related how his wifes life-
threatening illness early in their marriage had driven her first to doctors who
could not help her and then in search of religious healing. Religious healers
confirmed that medicine could not save her, and that only by initiating into
Santera would she survive. Her husband had resisted, although he did ac-
company her to ceremonies in order to learn about the religion. In the end, to
save her life, he joined her in undergoing initiation. There they both were, fifty
years later. Everything they hadtheir health, their house, everythingthey
owed to their saints. His clear implication was that I, too, would reap blessings
from the saints if I stepped from the margins of my inquiry to take the plunge
of faith and be initiated into the religion.
Santera is not a proselytizing religion per se, but santeros with whom I had
a personal connection often told me their stories in ways that positioned me
in their initial stage of doubt. The parallels they set up between their disbeliev-
ing younger selves and me implied that I, too, would discover the power of the
saints in my own life. As Harding suggests in the case of evangelical Christians
(2000: 3340), learning to replicate the speech conventions of believers marks
a successful conversion, as the convert can now inhabit the speaking role of
one who has witnessed the sacred power of the saints in his or her life.
Defining religious experience
In order to understand the processes through which santeros recognize reli-

gious experiences, it is necessary to explore what ethnographers and religious
practitioners mean by religious experience. As I proposed in chapter 1, we
need to consider both the phenomenological and interpretive moments of ex-
periences. That is, experiences have meaning because of the interaction be-
tween their immediate, sensory effects on ones organism and the explanatory
framework through which one apprehends those effects. We can think of these
two qualities of religious experience as the ineffable and the noetic (Proudfoot
1985). The ineffable is, literally speaking, that aspect of experience which resists
expression in words. The noetic, as Proudfoot explains, is best analyzed as
an assumed claim about the proper explanation of the experience, which is
to say the juncture between experience and epistemology that we might call
understanding (187). It is on the noetic component of experience that I now
concentrate, and especially the role of retelling and thus narrativizing events
in establishing a religious interpretation of experiences.
As I examine the after-the-fact, interpretive work in which santeros engage
in order to arrive at religious understandings of events, I consider a narrative of
the most dramatic sort of religious experience: one that impels a religious con-
version. My example, Emilios frequently repeated story of his decision to initi-
ate, illustrates how santeros talk about the processes by which faith overcomes
skepticism. In recounting a series of disturbing events, Emilio explained why
he converted from the more politically comfortable role of atheistic folklorist
to become a devotee of Ochn. His narrative creates a plot line out of a series
of robberies that targeted his house over several years, interspersed with visits
to a santero who divines the reason for his ill fortune: that the oricha Ochn
is claiming his head or demanding that he initiate. Here, events that must
have seemed puzzling or coincidental at the time become, in retrospect, proof
that the deities exist and intervene in human lives. The acts of robbery, strung
together in sequence and illuminated by divinations, coalesce into a divine
communication and so constitute a religious experience strong enough to trig-
ger a persons religious conversion from Communist atheist to openly devout
priest of Ochn. A close look at his narrative illustrates the power of narra-
tives to retrospectively organize events into significant patterns that can thus
be recognized as particular types of experiences. Following Stromberg (1993:
3), I suggest that this retrospective narrativization is itself a central element
of the conversion. Moreover, although we cannot assume that narratives rep-
resent narrators actual lived experience as events unfold, such narratives do

circulate as models for recognizing future religious experiences. To draw upon
terminology from previous chapters, narratives serve a metacultural function
by delineating culturally specific categories of experience.
Retelling the telling moment: Narratives of conversion

experiences in Santera
Consider this narrative fragment with which Emilio began one telling of his
conversion story:
I didnt believe in anyone. Because, ok, I pretty much developed with-
in the Revolutionary process. And at the beginning of the Revolution, at
the beginning of the Revolution here, religion was not well regarded at
the beginning, in that environment, because there were problems with
religious folks. And as I initiated with the process, little by little, I didnt
believe in religion. And I had, I had a religious family tradition, but as I
was a new generation, I didnt believe. I was a Communist. I didnt be-
lieve.7
Autobiographical narratives that begin in this way situate the narrated first
person back in time, as a former self who did not believe, or at least who openly
abstained from religiosity. The past tense signals an endpoint to the narrated
self s lack of belief, marking the narrative as about religious conversion. In cer-
tain types of American fundamentalist Christianity, such narratives constitute
a semiritual genre of religious speech with the emic label witnessing (Har-
ding 2000: 3637). No such formalized genre exists among Cuban santeros,
although frequently enough I encountered stories about coming to believe in
the saints. I call these stories narratives of conversion, although advisedly as
no Cuban narrator ever used a term like conversion. And yet, such narratives
form a recognizable type, which boils down to this simple schema: I didnt
believe. I have had tests or proofs. Now I believe.
Such narratives in Santera do indeed recount pivotal, transformative
events. They are stories, usually autobiographical, but sometimes passed along
secondhand, in which someone experiences problems and as a result begins
to try out a sacred stance in order to resolve them. As the person adopts that
stance more comfortably he or she typically acknowledges the new religious
commitment by being initiated, which means undergoing a tremendously ex-
pensive and complicated series of ceremonies. As even a quick read of Emilios
statement suggests, however, the transformation may not be as simple as going

direct from nonbelief to belief. There is also the possibility of closeted be-
liever going public, of Communist initiate moving back into family religious
traditions, or of disillusioned Revolutionary seeking pragmatic solutions to
pressing economic or health problems and only later (if at all) becoming de-
vout.
This brings me to a second caveat about my use of the label conversion.
It is the label I apply to a process that I have seen unfold only in narrative
testimonies, never live as it happens. Indeed, I am not convinced that one
can pinpoint conversion-as-it-is-happening-to-someone-else, at least not in
Santera. What would such an event look like? Santera does not have a genre
of performance akin to that represented by the born-again Christian genre of
being saved. It may be that the retellings themselves constitute the conver-
sion process more fundamentally than any events they representa focus on
the performative, rather than referential, functions of conversion narratives
(Stromberg 1993). That is, a series of inner struggles and decisions becomes a
nameable and describable event only by being organized into a linear narrative.
The performance of a narrative of conversion is what marks the speaker as a
religious believer, and it does so by establishing a point in time at which this
religious orientation came to be true of the person. Let us consider how Wil-
liam James described conversion: 8
To be converted, to be regenerated, to receive grace, to experience
religion, to gain assurance are so many phrases which denote the pro-
cess, gradual or sudden, by which a self hitherto divided, and consciously
wrong, inferior, or unhappy, becomes unified and consciously right, su-
perior and happy, in consequence of its firmer hold upon religious reali-
ties. (1922/1902: 189)
For James, conversion is a retrospective label for a transformation ac-
complished before naming it, or perhaps consummated by naming it. The
perspective embedded in James words is that of the convert, who describes
him- or herself as formerly wrong and now right. Whatever the phenom-
enological inner experience of conversion may be, conversion is indexed by
a persons willingness to publicly mark a discontinuity between former self
and current self, where the self has undergone a major shift in perspective
toward the sacred. Even when no label such as conversion is used, as is the
case in Santera, the event is recognizable because it is narrated according to
certain conventions. Susan Harding describes conversion in fundamentalist
Christianity as a process of acquiring a specific religious language or dialect

or of transferring narrative authority . . . to narrate ones life in Christian
terms (2000: 34).
So what purpose do these narratives serve for those who tell them? Simply
put, the retelling reaffirms the narrators current religious orientation by rep-
resenting his or her transformation from an earlier, nonreligious identity. The
retelling thus also models for listeners how to renarrate their lives in terms of
Santera; it conveys the telos of Santera by linking ordinary or extraordinary
human events to divine interventions.
A brief comparison of Christianity and Santera may help. Much of Chris-
tian doctrine views conversion as an ongoing process: not a single leap of
faith but a continuing series of reaffirmations of identity and faiththe con-
struction of a sacred self in the face of doubts, temptations, and relapses
(Csordas 1994; Harding 2000; K. F. Morrison 1992). To practice Santera, too,
is a continuous, even daily, choice the believer makes. As I discussed in part 1,
the Cuban context presents multiple religious alternatives, each with its own
set of social valences. Moreover, the Revolutionary state has advocated atheism
with varying degrees of persuasion over the years, although the current stance
is permissive of religious expression. It is possible to imagine someone so se-
cretive in their beliefs and practices that no one else knows, but I am interested
here in those whose professions of belief shape their public persona.
My premise is quite simply that the stories we tell ourselves about ourselves
shape our sense of self, including our religious or secular orientation toward
events. Of course, we tell stories about ourselves to others, too, and in doing
so perform who we are at two semiotic levels: the level of the narrated event,
in which I appear as a character, and the level of the narrating interaction, in
which I interact with others as I do the telling about myself. Identity-work is
accomplished through automatic mapping between these two levels of narrat-
ed and interactional texts, represented by the contrast between an unbelieving
I-then in the narration and a religious I-now who tells the story (Silverstein
1985, 1992; Wortham 2001).
When someone recounts their religious conversion to a nonbelieving inter-
locutor, there is the potential for the retelling to serve as what fundamentalist
Christians call witnessing. Note how Susan Harding describes the effects one
powerful episode of witnessing had on her during her fieldwork with evangeli-
cal Christians:
I began to acquire the language that (Reverend) Campbell and other pas-
tors and church people spoke to me. I came to know what it meant to
have a soul, a sin nature, a heart; to say, God spoke to me and Satan is
real; to see Gods hand in everyday life and the daily news; to know that
there is no such thing as an accident, and that everything, no matter how
painful or perplexing, has a purpose. I did not convert, but I was learn-
ing their language of faith. . . . For years I stood at the crossroads that
Campbell and others fashioned for me, in between being lost and being
saved, listening. (2000: xi)
In my work on Cuban Santera, I stand at a similar crossroads, listening to
the explanations, stories, and advice of Santera practitioners. These conver-
sations, moreover, have a point: to demonstrate the little pinches through
which God (in Hardings case) or the orichas (in mine) are manifesting them-
selves in our lives, in ways our interlocutors suggest we ultimately will have to
recognize. The performance in Santera most akin to being saved is initiation
as a priest. However, the saving grace conferred by initiation occurs much
more on a practical than on a spiritual plane. Most priests choose their mo-
ment to be initiated because they face an insurmountable problem that the
saint has, directly or tacitly, promised to resolve only through initiation. Recall
Emilios little pinches: the saint chooses the person, then inflicts problems on
the person until she gets the point that she must initiate.
At the same time, initiation serves a gatekeeping function between mere
believers and those whom the orichas have chosen and who have committed
to living under their personal guidance as revealed to them in divinations and
under spirit possession. Emilio is one such initiate, a son of Ochn who is
also a professional folklorist. Our relationship, therefore, has been similarly
multifaceted: equally professor-student and godfather-goddaughter. Early on,
during my visit in 1998, our work consisted mainly of one-on-one lectures
about various aspects of Santera. And it is from this early getting-to-know-
you period that the narrative I now present is drawn.
During this particular two-hour lecture, Emilio had been listing the four
reasons why someone decides to initiate: because of family tradition; because
of irresolvable problems; because of serious illness; or purely because of affin-
ity for the religion. He followed a first, general example with that of his own
godparents (whose story I summarized earlier). Finally, he described his own
case, first explaining that while his family had celebrated certain saints days
in the rural Spiritist tradition of drumming and singing, he was the only one
who had ever been initiated into Santera. He then launched into the following
narrative, which for the purpose of my subsequent discussion, I divide into
sections. In the transcription, bold type indicates heavy emphasis, em dashes
indicate phrases that run together, and slashes above specific words indicate
Emilios simultaneous finger-tapping on the table for emphasis.9
Section A
But, ah, I confronted a problem that when I began to travel abroad thieves
persecuted me a lotThey persecuted me a lot. And I was always, always
things were being lost to methings were being lost to me. They robbed
merobbed me.
Section B
And the police . found the thieves, but could not prosecute them, nor do
anything, because (2-second pause during which a woman shouts in the
distance). Nothing.
Section C
And then, I began to get consultations. And it was that Ochn was de-
manding my head. It is said in this way. And that as long as I didnt make
the saint, they werent, the robbers werent going to stop.
Section D
And I didnt believe it. I was like five or six years in that. And they were
robbing me. Robbing me, robbing me, robbing me.
Section E
Until they gave me a final test. That they said to me If you
/ /////
dont make the saint, during the next trip that you have, you are
/
going to lose it all. . . . Like this they told me, You are
/ /
going to lose it all.
Section F
And I didnt do it like that. I am going to make the saint. Dont worry
godfather. Because then I had said it already to the godfather. No, I am
going to make the saint. But . ptch (smile and breath intake with smacked
lips) .. the trip came, and it slipped my mind and I did nothing.
Section G
And like five months later they corr-, carried away everything, every-
thing. I lost everything, everything, everything, everything, everything,
everything, everything, everything. [They] left me an empty house.
Section H
(2-second pause: Emilio looks directly at me, smiling, tapping the table)
// /// // // /// //
And I had to make the saint because of that problem.
Section I
Look, from then on nothing, nothing more happened, see? Like that. And
everything has gone very well for me.
Section A: Summary of intractable problem

In Section A, Emilio introduces his own story as an example of one reason
for initiation. This section is characterized by repeated phrases that follow a
poetic pattern of AABBCCDD: they persecuted me a lot, they persecuted
me a lot, always, always, things were being lost to me, things were being
lost to me, and they robbed me, robbed me. Emilios rapid-fire utterance of
these repeated pairs foregrounds the pattern. Such repetition, which occurs
throughout this narrative, works rhetorically to magnify and multiply Emilios
problems in the narrative.
Emilio told me and others this same story on two other occasions over
the course of six months and alluded to it several times with me a year later.
This story seems to be a stable and important part of his narrative repertoire.
In two other tellings I recorded, the repetitive structure is preserved, with
identical repetitions of they robbed me, as we see here, along with a listing
of the years that he was robbed1989, 1990, 1991, and 1993a list he then
repeats. The effect is the same in all the versions: to rhetorically multiply his
problems.
Section B: His first attempt at a solutionthe policefails

In Section B, Emilios first response in the narrative is to go to the police, who
are unable to stop the thieves for reasons Emilio does not explain: he leaves
because hanging after we are momentarily distracted by a woman shouting.
I suggest that the depiction of an initial attempt to find an everyday solution
to personal problems is an essential part of Emilios and others narratives of
conversion, because seeking the aid of police, doctors, or hospitals represents
rational problem-solving, not superstitious response. This is the kind of ratio-
nal action anyone in a similar situation would take. By including this phase in
the narrative sequence, the narrator suggests that only when ordinary means
fail does one resort to extraordinary means. Emilio and others frequently pref-
aced their stories of amazing cures and other religious miracles by saying I am
not a fanatic, but, meaning that compelling events speak for themselves and
drive the rational person to certain conclusions.
Section C: Second attempt at a solution: the first warning

In Section C, after normal action on the problem fails, the next logical step in
the narrative sequence is Emilios consultation with a santero. This is a signally
problematic moment in such narratives, precisely because it suggests that the
person already believed, or, being predisposed to believe, became desperate
enough to seek religious help. The step of seeking a divination opens up a
channel of communication with the orichas, allowing the robberies to become
an interpretable divine message. Emilio is told that the robberies mean that an
oricha, Ochn is trying to get his attention by causing them. To link events
with a divination in this way, however, is a profoundly religious act.
In this section, Emilio-the-narrators current religious orientation perme-
ates his account. He attributes his problems to a particular deity, whose warn-
ing he paraphrases: And that as long as I didnt make the saint, they werent,
the robbers werent going to stop. He acknowledges that the phrase demand-
ing a head might be odd to me, explaining it is said in this way. Doing so
marks a crucial difference between his position and mine in the interaction: he
is initiated, whereas I am not, and so I may be unfamiliar with this terminol-
ogy. Tacitly, Emilio-the-narrator aligns me with his past self who, we learn in
the very next line, did not believe it.
Section D: He does not heed first warning; problems continue

Emilios disbelief costs him dearly, as he explains in Section D. Again, repeti-
tions in the text serve as phrasal icons that represent the unrelenting multipli-
cation of Emilios problems. By the end of the litany, his problem has swelled
beyond any ordinary case of theft: robbing me, robbing me, robbing me, rob-
bing me.
Section E: Second and final warning

In Section E, the pivotal line, until they gave me a final test, raises the ques-
tion of who or what is being tested or provedan issue I will defer for the mo-
ment. (Prueba, which I translate as test, also means proof or trial.) At first
glance, the sentence structurally serves to complete the series of repeated they
were robbing me phrases in section D. It is also one among a series of implied,
unspecified third-person plural agents, they, that appear across the transcript
sections. In section Es until they gave me a final test and section Ds they
were robbing me, the implied they of the third-person plural verb conju-
gation does something to me the narrator. This agent-centric series begins
in section C with they werent, the robbers werent going to stop; continues
through Emilios they said to me in section E; and culminates in section G
with they left me an empty house.
Are these unspecified third-person plurals all the same they? By the ordi-
nary rules of implied pronoun anaphora in Spanish, they should be. The agent
of the first utterance in the series is obviously robbers, but this subject be-
comes problematic in the following two utterances in the series. Do robbers
give final tests? Do they go on to give quotable warnings, as Emilio voices their
doing in this section? In fact, the stern, warning voices here are the voices of
the deities, and he delivers them emphatically, tapping the table to highlight
the messages importance.
Section F: He does not heed the second warning

Emilio reports his response to this second, more direct, warning in part as a
spoken answer to his godfather: I am going to make the saint. Dont worry
godfather. We can understand this chain of communicationfrom a deity to
Emilio and from Emilio to his godfatherby recalling section C where Emilio
first describes getting the consultations that reveal that Ochn demands his
head. The narrated events of sections E and F return us to the consultatory
domain where a priest conducts a divination for his or her godchild, reports
the deities answers and commands, and then discusses with the godchild a
plan of action. In Emilios case, because a deity has already claimed his head
and continues to bring him trouble, the plan is to initiate him. But Emilio does
not follow through, and this is the source of his chagrined smile and implosive
bilabial ptch in but . ptch .. the trip came.
Section G: Problem reaches climax

The result of Emilios inaction is devastating, as the crescendo of everythings
palpably illustrates. They (unspecified) leave him nothing but an empty
house. Thieves may do the dirty work, but higher powers are allowing the
thieves to get away with it. The implied agency of I lost everything even sug-
gests that the narrator blames himself.
Let us now return to the question of who or what was being tested or proved
in section E. Concern with proof is a common trope in Cuban religious par-
ticipants talk about consultations. The deities, in essence, must prove that they
are the authors of what the divining priest conveys either by revealing details of
past events or current problems known only to the client or by making predic-
tions that come to pass. If Emilio doubted their predictions before, he now has
his conclusive proof: they predicted the theft of all he owned five months be-
fore it happened. Or to cleave to Emilios account, where his nonbelief creates
a self-fulfilling prophecy, the deities drive this terrible misfortune because he
refuses to believe. If we now understand the logic of Emilios decision to believe
and to be initiated as a priest, what happens next is the key to this narratives
interactional effect.
Section H: He invites the listener to join him in heeding the deities

Section H consists of a space and a two-second silence in which Emilio looks
straight at me, again tapping the table emphatically. Implicitly he asks, What
would you do? His tapping, harkening back to section E where the deities
warn him of the danger of inaction, helps convey the meaning of the significant
pause: Look what happened. What conclusion would you draw as a reason-
able person? Finally, almost anticlimactically, Emilio continues And I had to
make the saint because of that problem.
Section I: The problems disappear

Section I is Emilios testament to the correctness of his decision to initiate.
Once compelled to believe by the force of the deities interventions in his life,
he follows their wishes and sees his problems disappear. Emilios look and
see? invite his audience to witness his success, while the temporal shift of the
narrative from past to present introduces his speaking self as the endpoint of
the self-transformation he has narrated. We might read the two-second pause
that precedes And I had to make the saint in section H as a discontinuity be-
tween Emilio-past and Emilio-presentthat is, as the moment of conversion.
To conclude, we see that the focus of this narrative is not on the eventual
solution of Emilios problems, but on the process by which he came to believe.
The narrative is structured by Emilios religious logic, where repeated robberies
drive the sequence of responses: first police; then, in desperation, consulta-
tions; initial skepticism; and finally acceptance of a religious interpretation of
events, marked by religious initiation and the disappearance of the problem.
What interactional effect does this narrative have? It positions me, ethnog-
rapher and audience, in parallel with Emilio-past: a dabbler in Santera who
might get a consultation, but has made no religious commitment and professed
no belief. In the temporal logic of the narrative, Emilio ferries me across the
terrain of crisis and rational response he once traversed to emerge as a believer,
ready to initiate. He shows me a map from here to there, from skeptical inter-
est to belief and initiation. His narrative does not, at the moment of telling,
convert me or anyone else in his audience, but rather lays out how the world
looks from a religious orientation, how events of ordinary life can be retold as
experiences of the sacred, stories with the power to make a person believe.10
This, then, is why I defend my label of Emilios story as a narrative of con-
version. Conversion is not recounted as an instantaneous event or a sudden
realization so much as a realization reached over time in rational response
to compelling events. Its mark, if you will, is a persons readiness to retell the
events in their lives as a story of divine interventions. If initiation serves as the
critical public marker of religious commitment in Santera, the ongoing work
of being a religious person finds one form of expression in retelling the telling
moments of ones life.
Two facets of religious experience: Phenomenological and interpretive

Emilios narrative of conversion exemplifies the after-the-fact meaning-mak-
ing that is essential to religious experience. But our everyday sense of experi-
ence as a moment-to-moment phenomenon of consciousness and subjectivity
may make us wonder whether the long-term events strung together in such
retellings are really part and parcel of experience itself. Are after-the-fact in-
terpretations of events like robberies really religious experiences in the same
sense as the raw visions and sensations of the numinous that William James
so vividly described?
Religious experience, as a subspecies of experience in general, consists of an
interpretive as well as a phenomenological modality. This is not a novel claim.11
Even Friedrich Schleiermacher (1963/1821) and William James (1922/1902),
in now-classic definitions of religious experience, hint at both modalities.12
Schleiermacher defines religious experience as a feeling of absolute depen-
dence, coupled with an intuition of God or God-consciousness. Rudolph
Otto (1958/1950), the early-twentieth-century German theologian who devel-
oped Schleiermachers views, called this the experience of the numinous, a
concept also taken up by Mircea Eliade in The Sacred and the Profane (1959).13
For his part, James defines religious experience in terms of the two criteria I
mentioned earlier: ineffability and a noetic quality (Proudfoot 1985).
Lining up these two definitions shows that Schleiermachers sense of abso-
lute dependence includes both the phenomenological experience of ineffabil-
ity, of sensing oneself a part of something much more powerful than oneself
(shades of Durkheim), and also an epistemic moment of attributing causality
to an entity more powerful than oneself.
What are the implications of these modes for knowing what counts as a
religious experience? In a common framing of this question, Watts and Wil-

liams (1988: 23) ask exactly how religious people move from the raw experi-
ence itself to a religious articulation of that experience. While their inquiry
is compelling, its assumptions deserve examination. First, the idea of raw ex-
perience focuses on private and subjective sensations. We need to pay equal
attention to intersubjective constructions of experience, like Emilios narrative
and the events it recounts. Second, the question assumes that experience is in
its nature something initially raw and unorganized that we individually and
collectively structure. We need at least to acknowledge an alternate philosophi-
cal view that experience is organized from the start and has some sort of inher-
ent structure.14
For example, consider how neurobiologists and cognitive scientists study
what Watts and Williams call raw religious experience by combining physi-
ological studies, brain imaging, and more complex models of consciousness.15
These researchers are heavily influenced by William James and so tend to define
religious experience more narrowly than I do as an altered state of conscious-
ness. This is too limited a view of religious experience. Their very techniques
limit them to studying brain activity during the sorts of religious experiences
they have been able to capture in subjects willing to sit quietly in labs for brain
scans during and after their experiencesnamely yogic, zen, and Christian
prayer meditation (Azari et al. 2001; Newberg et al. 2001). Based on this and
related work, Newberg and his coauthors postulate a neural scenario for the
cognitive and emotional effects of slow, contemplative rituals such as prayers
in realizing the minds mystical potential to produce certain kinds of tran-
scendent states (2732).16 These transcendent states constitute temporary but
extraordinary transformations that those experiencing them may attribute to
sacred power. In fact, the conditions of intense physical or mental activity that
provoke such states include many found in religious rituals: focused medita-
tion, rhythmic motor activity, chanting, and rapid dancing, for example. But
none is the exclusive provenance of religious experience. Running, for example,
can also provoke the transcendent state they call flow state. While their physi-
ological studies allow them to identify transcendent states in the lab, Newberg
and his colleagues note that religious experience cannot be externally verified;
only the subject can report on what his or her experience in a given moment
means. In other words, intention and interpretation matter deeply.
The minds mystical potential, we can conclude, turns out to be inextricably
bound to a persons frame of referencewhat I have called their interpretive
stance. That stance delineates both the social practices that appropriately pro-
voke those states and the interpretation of the experience of being in those
states. Religious practitioners locate themselves within the sacred stance both
explicitly, through self-identification as religious practitioners, and implicitly,
in responding to events and situations, including those identified as religious
experiences. Stance is tied to selfhood and self-presentation, insofar as who we
are is at least in part determined by how we position ourselves in interactions.
This positioning over time and across many situations produces a durable no-
etic orientation, or, more abstractly, an episteme, a way of knowing that in-
cludes beliefs, analogies, principles of causality, and standards of proof.
But where does a religious episteme come from? Let me be clear that I do
not locate epistemes inside the head as a private affair, although some epis-
temic elements may in fact be cognitive. Epistemes are intersubjective, as in-
deed is cognition itself as psychologists are beginning to regard it. Consisting
of some subset of publicly circulating interpretants, epistemes may be highly
stable or quite labile. Because they are most usefully thought of as social phe-
nomena, rather than internal mental models, I focus on their enactment as re-
ligious stances. Doing so avoids the intractable problem of how to access other
peoples internal thoughts and projects religiosity outward as a positioning in
response to provocations, which may be events or other positionings (Kirsch
2004).
It seems plausible that episteme shapes experience, not in deterministic
ways, but by delineating the realm of the possible and the fallback principles
of relation and causality. Believing something to be true of the world allows
one to experience certain instances of it. If one believes that the saints directly
intervene in peoples lives, it becomes possible to experience the curing of an
illness or the cessation of robberies as divine intervention, evidence that a saint
has heard ones pleas and chosen to give protection. This sort of religious expe-
rience is quite different from what James or Schleiermacher had in mind, but
it broadens rather than contradicts their definitions of religious experience.
Hood and coauthors argue that almost any experience humans can have
can be interpreted as an experience of God (1996: 184). I am inclined to agree
in the sense that someone with a religious episteme may read signs of divine
intervention everywhere. The transcendent states of consciousness described
above are only one type of religious experience. David Hay (1982), identified
nine categories of religious experience in the survey responses he gathered as
part of an interview study (cited in Watts and Williams 1988: 2022). A perusal
of his list shows that not all categories involve the same kinds of mental states
or events. He cites, for example, experience of Gods presence, of an unnamed
presence, of the presence of the dead, of the presence of evil, of the presence
of divinity in natureall of which are mystical experiences that could corre-
spond to transcendent mind-states of the sort that might be detectable in scans
of brain activity patterns. Hay also lists premonitions and conversions, which
might qualify as similar sorts of numinous experiences, although these seem to
require some degree of hindsight in order to be recognized as specifically reli-
gious experiences. A premonition usually has to be fulfilled to count as a divine
message, and a conversion requires some sort of retrospective glance back at an
earlier, unconverted self. The two other categories on his list, answered prayer
and meaningful patterning of events, are purely retrospective interpretations
of events. It is hard to imagine either of these last two producing the same sorts
of neural and other physiological correlates that accompany more immediate
mystical states.
To come full circle to the dual phenomenological and interpretive aspects
of religious experience, it seems plausible that different types of self-identified
religious experiences fall along a spectrum that extends from a phenomeno-
logical pole to an interpretive one. Watts and Williams suggest that prayer, for
example, can be understood, at least in part, as an exercise in making sense,
from a religious standpoint, of events in the world in the life of the religious
person (1988: 7). Making sense, seeing patterns, or striving for control are as
fully subjective events as feeling oceanic bliss or falling into trance, although
each may have very different proximate triggers in any particular religious
practice. In all cases, we can recognize religious experiences in others only by
relying upon how a person acts upon or reports his or her experience. Some-
one who consistently takes a religious stance will probably have a variety of
such experiences or at least be open to the possibility that they and others can
have them. They may be able to describe what counts as a religious experience
even in the absence of having had that particular experience.
Ritual models of religious experiences

My account of religious experience and how participants and observers iden-
tify such experiences retrospectively has focused on how individual interpre-
tations of experience are shaped by a religious episteme. The next question to
consider is how such epistemes circulate so that santeros find them compelling
and repeatedly adopt them to a sacred stance. One key site of circulation is
ritual. Ritual activitythe divinations Emilio received, for exampleclearly
mediates at least some sorts of religious experiences, although it does so in
tandem with the discourses about ritual that surround it, such as the narratives
in which Emilio recounted his divinations. Rituals in Santera help mediate
religious experiences by demonstrating causal links between ritual acts and
transformations that are attributed to the manipulation or intervention of sa-
cred power. Another way of saying this is that rituals develop plotlines that can
then be taken up as implicit models for action or even as explicit narratives of
action.17 For example, consider how a divination ritual producing messages
warnings, demandsfrom an oricha might contribute to someones notion
that the oricha is sending him little pinches. That is, rituals serve as metacul-
tural vehicles for communicating a sacred stance toward events that transpire
during them and also, by extension, to other nonritual events as well. Their
power as replicators of religious culture is linked to their performative charac-
ter: they are most effective when they convey implicit messages and models of
action through the ways in which they shape participation.18
Divine communication as religious experience

Practitioners of Santera almost always couch their descriptions of religious
experience in terms of communications with the orichas and other spirits.
Santeros understand rituals to be fundamentally about channeling divine
communication in order to access sacred power. Sacred power, called ach,
manifests itself by causing transformations, including temporary but dramatic
transcendent states (possession trance, for example) or long-lasting patterns
of intervention in peoples lives (cures, changes in circumstance, solutions to
intractable problems). Such transformations, indicators of ach and therefore
of religious experience, can only occur when there is communication between
the sacred and the human realm. Rituals in Santera, whatever other purposes
they may serve, always focus on opening two-way communication with the
deities, ultimately in order to ensure their blessings and protection. Santeros
refer to the cowries or coconut pieces that comprise the oracle generically as
the saint, even when no single, specific saint is being invoked.19
I now wish to consider how the analogies between different types of ritu-
als of divine communication allow participants to transfer the logic of one
ritual to the interpretation of other, related types of rituals. Rituals can produce
religious experiences either as a direct result of their performance (as in pos-
session trance when an oricha manifests in person) or by pointing to other
events that replicate their logic, thereby setting up other sorts of events to be
religious experiences (as in divinations that suggest portentous patterns in life
events).20 This second mode, in which a ritual serves as a model for a particular
configuration of causal relations, occurs through the transfer of interactional

tropes from the ritual setting to other settings. Such interchanges can also oc-
cur between different types of rituals, so that one reinforces a sacred inter-
pretation of another. One example is the array of rituals that mediate divine
communication in Santera.
Rituals of divine communication in Santera and related religious practices
fall into four basic categories: prayer, divination, mediumship, and posses-
sion trance. Of these, all but mediumship are practiced within the bounds of
Santera. Mediumship is central to Spiritist practices, in which it replaces divi-
nation and full possession trance. In any case, anyone participating in religious
activities in Cuba is likely to have experienced multiple types of each, because
devotees of any given tradition in the popular religious complex tend to sample
other practices or even be mandated from within their particular tradition to
participate in rituals of another tradition. For this reason, I consider medi-
umship, which is most characteristic of Spiritism and Muertera, within the
spectrum of experiences of divine communication in Santera.
Despite variations in each across different religious practices, the four basic
categories can be arrayed along a spectrum based upon whether they enable
one- or two-way communications with the divine and the degree to which the
divine has an embodied presence during communications. Consider figure 4.1.
Prayers are human appeals to the divine, but no immediate answer in kind is
expected. The three technologies or types of divination in Santerausing four
coconut pieces, sixteen cowrie shells, or an If chainhave in common that
they establish a two-way channel of communication between human beings
and the orichas. Santeros often refer to the cowries, for example, as la lengua
(the tongue) of the orichas, because when santeros pose questions and make
requests while using the cowries, the saints respond with answers, permissions
given or denied, and additional demands or advice in the form of signs. The
santero interpolates the signs formed by patterns of coconut pieces or cowries
into words and sentences. That is to say that the santero relays a message un-
derstood to be authored by the divination oracle.
Prayer Divination Mediumship Possession trance

One way Two way One or two way Two way
Human Divine Human Divine Spirit Human Human Divine
Human Spirit
Figure 4.1. Diagram of possibilities for divine communication in Afro-Cuban religions.

Unlike the technologies of divination, mediumship uses the human mind as

what one Cuban practitioner I interviewed called a radio transmitter of spirit
messages. Spiritist-influenced mediumship may involve spontaneous trans-
missions, in which the spirits inspire a medium to give unsolicited advice and
warnings to someone. This type of mediumship, which can even happen on the
street among passersby, is one-way communication from the spirit world to
humans, who have no immediate way to respond, except to seek out a diviner
or medium to continue the conversation later. The fully ritual mediumship
during Spiritist ceremonies allows two-way communication among mediums
channeling spirits and other participants. However, the mediums seldom act
out the spirit that speaks through them to the extent that someone in posses-
sion trance will. Only in spirit possession do the deities and humans come face
to face in full two-way communication. Humans initiate the conversation by
attracting the saints with songs. Once fully present, and if the possessed santero
has received the proper ceremony, the saint not only inhabits the santeros body
but also speaks through the santeros voice. In this way, the saint fully interacts
with those present, dispensing advice and other imperatives.
If perfect two-way communication between human beings and the divine
is the ideal, that ideal is most closely approached when the orichas descend in
possession trance, although orichas and santeros are not completely fluent in
one anothers languages. The orichas speak a nonstandard, error-ridden, and
heavily accented Spanish, and the santeros struggle within their limited knowl-
edge of Lucum, the language of the orichas. Despite these communicative
limitations, we can still read across the chart in figure 4.1 from prayer toward
possession trance as a progression toward ideal, fully intelligible two-way com-
munication.
Such a progression works both ways, however. Divinations and possession
trance rituals in Santera in many ways follow the same structural template and
share the same participation framework. In both cases, a communicative triad
arises, in which a santero serves as translator between cryptic divine speech
and ordinary human speech. Mediumship generally does not have this triadic
structure, and this may be one reason it remains at the margins of Santera,
despite its broader popularity in Cubas popular religious complex.21
But what of prayer? Prayer in itself is one-way communication, but it can
become part of a broader cycle of two-way communication when ones prayers
are answered. Prayers are answered not so much in words as in events, pat-
terns, or changes in circumstances. These life events must come to be imbued
with sacred significance. One prays to ones saint for help, and sometime later
an intractable problem disappears. A religious interpretation must link the

two events as a cycle of human requestdivine responsein other words, a
religious experience of divine communication. I suggest that experiencing the
pattern of human requestdivine response during the short time span of a divi-
nation or possession trance ritual aids recognizing such patterns over longer
time spans in the course of living life. Moreover, these cycles of ritual commu-
nication intersect and overlap in larger-scale cycles that build relationships be-
tween particular humans and particular deities, as in Emilios relationship with
Ochn. What an oracle says in divination may only come to pass over several
months as a pattern of life events that reveals divine intervention, as with the
house burglaries Emilio suffered over several years. Or what a divination oracle
says may explain such a pattern after the fact. In Emilios narrative, the oracle
not only gives a supernatural explanation for past robberies, but it predicts
another theft if he fails to get initiated, a prediction that comes to pass.
These cycles of human-divine communication are prominent in Santera
rituals, and it is no accident that they are defining features of religious experi-
ences in Santera. The central concept of divine communication, in effect, pro-
vides a framework for interpreting transformations in ritual or life as religious
experiences by attributing them to divine intervention. In practice, reaching
consensus on what counts as a true religious experience can be problematic for
santeros, as we will see in the following chapters.
Conclusion
In this chapter I analyzed a narrative of a type of religious experience best
described as a meaningful patterning of events (following Hay 1982), which
therefore challenges the assumption that religious experiences can be located
in the moment. In Emilios account, the series of robberies he suffered in life
slowly gains religious significance as a divine communication, a little pinch
from Ochn telling him to initiate. Whatever other reasons he may have had
for becoming a santero, his retelling the story of the robberies is what currently
has significance for him. Indeed, he frequently referred to this story in my and
others presence and, in retelling it, continually reaffirmed his religious stance
and encouraged his interlocutors to seek similarly meaningful patterns in our
experiences.
I have argued that one commonality among disparate sorts of religious ex-
periences, whether they occur in ritual or everyday life contexts, is the ac-
knowledgment of an encounter with some form of sacred power, whether an-
thropomorphized (sensing a divine presence) or abstract (sensing the sacred

force, ach). In Santera, sacred power is wielded by fully anthropomorphic
orichas who seek to communicate with humans (recall once more Ochns
little pinches).
In his narrative, Emilio comes to recognize Ochns little pinches because
he seeks advice through a divination. The warning he receives reveals a new,
divine level of agency behind the robberies and provides a prueba (test) of it in
the form of a prediction that later comes to pass. The divination ritual, then, in
Emilios life and in his subsequent narrative, serves as an interpretive model for
nonritual events that precede and follow it and pulls those events into a com-
pelling plotline, one he continues to replicate every time he repeats his story.
Emilios narrative thus illustrates how rituals can contribute to the framing of
certain events as religious experiences.
I have also argued that rituals are crucially important as conduits of Santeras
sacred stance and of the need for practitioners to maintain open communica-
tion channels with the divine. Rituals, however, are not the only important site,
since the reflective discourses they provoke also play a central role in generat-
ing the sacred stance. Such reflective discourses, we will see, may have char-
acteristics and employ interpretive frames quite different from the rituals they
discuss. Emilios narrative is an example of one type of reflective discourse
that simply takes up and retells a ritual event, inserting it into a longer plotline
without any hint of doubt or controversy. Indeed, his narrative makes a divina-
tion ritual its pivot point as the moment he is given proof that the orichas are
responsible for his troubles.
In the next chapter I examine how santeros actually evaluate religious ex-
periences in rituals, a process that turns out to be much more problematic and
contested than Emilios thoroughly digested narrative suggests. Santeros skep-
tical attitudes turn out to be key features of their religiosity as it is expressed
in reflective discourses in which they test possible interpretations of events for
their religious implications. Finally, in part 3, I consider the repercussions of
these meaning-making processes for the emergence of a local religious com-
munity of santeros.
5
Skepticism in Faith
Evaluating Religious Experiences in Rituals
El santero tiene que comprobar si es verdad que hay un santo o no.

(The santero must confirm whether or not there truly is a saint present.)
Emilio, March 25, 2000, Santiago de Cuba
Emilios statement in the epigraph encapsulates a common skeptical atti-

tude among santeros that rituals and other putatively religious events must
be probed and tested for veracity. When someone falls into possession trance
during a ceremony, santeros carefully attend to their behavior, including their
responses to various tests and myriad other potential clues about whether
the oricha is truly present.
Religious faith is an interpretive process, one that focuses santeros attention
on rituals both as events providing potentially religious experiences (like com-
municating with deities) and as metacultural models for interpreting other
sorts of events as we saw in chapter 4. In this chapter I examine how santeros
evaluate the potentially religious experiences offered up by rituals by draw-
ing upon both the interpretive frames of rituals themselves and other sorts
of framing discourses. One such discourse is evident in an exchange between
Emilio and a ritual singer in which they discuss the importance of skepticism
in their religious practice.
With this discussion in the foreground, I go on to analyze a particularly
vivid ritual performance in which a santero was possessed by his oricha, who
engaged in a rich exchange of insults with a ritual singer that culminated when
the oricha dressed down the singer by ordering him to undergo a purification
ceremony. Fascinating in itself as an illustration of how rituals frame them-
selves by invoking interactional tropes that cue participants in to what is going
on, this ritual performance became even more intriguing to me when I played
Skepticism in Faith: Evaluating Religious Experiences in Rituals 105
back a video recording of it for two santeros who had agreed to help me tran-
scribe it. Their struggles to make sense of what was being said and sung took
on special significance as they developed plotlines for what was going on and
began to evaluate the performances of key actors such as the ritual singer and
the possessed santero.
The conclusions they each independently reached, as tentative as they were,
startled me: there was something fishy about the ceremony. And yet they were
not prepared to completely discount the sacred power of the events that trans-
pired. One of the transcribers had even accompanied me to the ceremony, and
at the time he and I, along with everyone else present, seemed caught up in the
power of the ceremony. His later critical appraisal, then, revealed to me that
Santera rituals (and perhaps other kinds of rituals as well) are riddled with
indeterminacies that simultaneously allow consensus to develop among par-
ticipants and allow ruptures of that consensus. One major source of such inde-
terminacies is the largely unintelligible register of ritual speech called Lucum,
which calls out for interpretation, especially when an oricha delivers messages
in Lucum.1 Santeros bring attitudes of skepticism within faith to their inter-
pretations of such ritual performances.
Religion is a competition
Religious Cubans often discuss ritual events in terms of tests and proofs.
Consider the following excerpts from a conversation involving Emilio, a young
ritual singer Ill call Desi, and me. I was taping an interview with Desi, whom
I had often seen leading the singing at ceremonies. In the passage below, Desi
and Emilio discuss santeros concern with testing one anothers ritual knowl-
edge. Desi had been explaining the importance and difficulty of singing Lucum
ritual songs correctly. The special rhythms with which the bat drums opened
each new song were especially tricky to learn, Desi explained,
Because there are times the drummers come out with a rhythm, and
they are testing you. They are testing you to see if you are knowledgeable.
They come at you with kum-kum-ba! Tun-ba, bi-bi Tun ba, bi-bi! And
youd better know that that is the prayer to Eleggua, that they are playing
you the opening so that you will sing to Eleggua. I can go right now to
Havana, and if they want to test me there, some of the drummers . . .
At this, Emilio cut in to confirm that this is exactly what happens, and we all
laughed knowingly. Desi went on:
Yes, yes. In the religion, really everything is a competition. The reli-

gion is a competition of, and in reality a good competition. Because it is
a help to me if I discover that there are so many songs there that I dont
know. That in playing me something that I dont know, I then concern
myself with that, and I learn, and I must learn that thing.2
In a religion of muchos poquitos (many details) as santeros often said, any
small mistake could ruin a rituals effectiveness by offending the saints. The
competitive spirit with which santeros test one another is productive because
it keeps everyone on their toes and points out room for improvement. It also
serves a crucial role in the interpretive process through which ritual events
take on religious significance. Santeros competitive mutual evaluation extends
to situations in which the orichas are said to be physically present: the santero
who falls into possession trance is him- or herself subject to intense scrutiny,
as Desi and Emilio discussed a moment later in the same conversation. I had
commented that singers closely focus their attention on anyone showing the
onset of possession trance. They begin to direct their songs to that person,
who may begin to react to the song. Desi responded by describing the singers
objectives in singing to the person possessed by a saint: 3
The work of the singer is to make known to the saint what, to ask the
saint for what you want, and through your knowledge try to discover
whether the saint is really there or not. Because it could be a saint, but
some arrive [in trance] and the saint is not present. That also happens in
the religion.
Emilio added that the santero has to test what it says; he must confirm
whether or not there truly is a saint present, which he does by using tratados
or treatments. Treatments are Lucum song lyrics that the lead singer wields
to achieve particular effects on the saints. Although the lyrics are unintelligible
to the vast majority of santeros, the orichas understand Lucum, and so a pos-
sessed santero should respond appropriately. Desi gave an example of how a
treatment would work. (I leave Lucum words untranslated, allowing Desi to
provide their glosses.)4
Because, ok, the saint can have a plate of honey, and to say to the saint,
iyalode, which means great lady, iyalode, great lady, wole die mi, please
listen to me. Emi ni eyeumo ni, I am asking that you listen to me as the
singer, and that I want to eat honey, or drink honey. And if he doesnt give
me that honey, the saint is not present.
Note that Desi addresses his Lucum words to a female saint, great lady,
but describes the respondent as he, meaning that the possessed priest is male.
His pronoun choice is telling, because it implies that Desi is testing the pos-
sessed santero, not the saint, for an appropriate reaction to his Lucum words.
Desi and Emilio went on to explain that knowledgeable but unscrupulous
singers could abuse tratados (treatments) to get saints who had possessed
someone to deliver them everything on the altar: not just honey, but rum,
cake, candies, money, and so forth. And who, asked Emilio, is most guilty
of that? Desi named another well-known local singer, Germn, whom Emilio
had told me was notorious for manipulating the saints. Germn is the singer
in the ritual I analyze below. His reputation played a role in events, allowing
the santeros who watched my recording to cast aspersions on the proceedings
and to relish how Germn got his comeuppance from the descended saint. My
analysis will show the principles of testing and competition that Emilio and
Desi described in action, as well as their consequences for santeros interpreta-
tions of putatively sacred events.
What should already be clear is that the skepticism that santeros evince
toward one another complicates their interpretation of religious experiences.
But all is not skepticism: we have already seen that santeros also manifest tre-
mendous faith. I suggest that a certain skeptical attitude is intrinsic to how the
santeros I knew practiced their faith. This is especially evident in how they
evaluate candidate religious experiences, especially during rituals.
How santeros evaluate a possession trance

The case study presented here centers on a possession trance during a tambor,
or festive ceremony, held in honor of the orichas. I examine several key mo-
ments during the two hours in which events unfolded to illustrate how sante-
ros evaluate ritual performances through expectation and retrospection. I also
consider how two other santeros viewing the video recording later interpreted
events. The example demonstrates that religious experience is multifaceted and
its authenticity very much in the eye of each beholder; different participants
may report very different interpretations of events, based on their evaluations
of the details of how a ritual unfolded. In my analysis I seek to understand how
participants reach those interpretations.
Possession trances occur within the bounds of particular rituals and loosely
follow a similar sequence. The one possessed signals his or her transformation
according to particular conventions, and convention also shapes how other
participants respond. In this case, a young santero had been hired to dance
his Yemay, meaning that the sponsor of the ceremony had paid the santero
to come and be possessed by his oricha, Yemay, who is the female deity of the
ocean and maternal love. The santero agreed, and the ceremony proceeded
normally, with the visiting Yemay doing all the things that saints do when
they descend to join a ceremony. Other participants treated Yemay respect-
fully, with the possible exception of the lead singer, who engaged in a banter of
ritual insults with the deity.
Although this banter conformed to the ceremonys conventions, it had an
interesting effect on two santeros who later watched the video of the event with
me. I had asked each of them separately to help me transcribe the songs and
speech, much of which incorporated Lucum and was difficult to hear over
the general hubbub of the tambor ceremony. As they watched the video, the
santeros grew more and more skeptical of the performance of this Yemay,
eventually concluding the possession did not seem to be a real and full one.
Either the Yemay was faking it or perhaps, as one of them more charitably
suggested, it was not an oricha but a muerto, a spirit of the dead, who had
taken possession of the young santero. In itself this was a serious charge that
cast doubt on all the proceedings of the ceremony, because in a properly run
Santera ceremony the spirits of the dead are not able to possess anyone. They
found corroboration of their skepticism in the exchanges between the lead
singer and Yemay. The lead singer was also skeptical, they suggested, which
was why he dared retort when the supposed Yemay criticized him. But they,
like the audience of participants at the time, took seriously Yemays mandate
that the lead singer undergo a purification ceremony. Each constructed a story
line out of the interchange between singer and saint that began with insults
and ended with Yemay besting the singer by publicly commanding him to
undergo a ceremony.
Arrival at this analysis required much concentrated effort to decode the
Lucum speech of Yemay, some of which remains tentative in the transcrip-
tion. In a few places, the transcripts produced by the two santeros differed, as
each constructed a different plotline for the encounter and worked back and
forth between transcribing lines and deducing a plotline to make sense of the
event. These layers of interpretation and suggestion reveal the indeterminacy
of deciding whether an event constitutes a religious experience. The first ques-
tion is how to know who might be having a religious experience. After all, cer-
emony participants might simply go through the ritual motions, reacting as if
the saint were truly present even where a possession is suspect. If the entranced
santero is indeed having a religious experiencenot faking or mistaking his

possession or simply getting caught up in the momentwhat does it mean that
other religious specialists remain unconvinced or become unsure? If as visceral
and dramatic an event as a possession trance can be fraught with such indeter-
minacy, such possibilities for multiple readings of events, what of more subtle
encounters with the sacred? Again, we must investigate how rituals contribute
to framing certain experiences as specifically religious experiences.
Possession trances in Santera

By possession trance I mean what psychologists call a dissociative state achieved
in certain festive ceremonies in which a persons body is said to be temporar-
ily inhabited by a deity or spirit. I borrow this term from Cuban scholars of
religion, because it is more general about the agency doing the possessing than
spirit possession (Cutie Bressler 2001). Within Santera rituals, orichas pos-
sess their devotees, not the spirits. It is considered an aberration for someone
to be possessed by a spirit, which would signal that the spirits of the dead (the
muertos or eggn) were seriously displeased. Possession by spirits or the chan-
neling of their voices during trance is normal within Spiritist and muertero
ceremonies and consultations, which some santeros also engage in, but sepa-
rately from Santera rituals. We will see in the ceremony analyzed below that
one of the doubts cast upon one priests possession trance is that he acts as if
possessed by a muerto and not by a saint.
Santeros understand possession trance to be a state in which a persons body
is mounted by an outside presence. Depending upon the skill, level of initia-
tion, and willingness of the horse to be mounted, the possessing saint may
only briefly seize control or may descend for several hours. The saint may
resort to gesture and pantomime to communicate or may speak freely, again
depending upon whether the horse has received the ceremony to open his
tongue (abrir la lengua) to the saint. Although possession trance is part of a
highly improvisatory ritual, its proceedings follow a definite schema and the
boundaries governing what can happen within it are well established.
About the ceremony

Possession trances in Santera occur within the bounds of festive ceremonies
that are generally known as bembs. Bembs are not exclusive to Santera,
so santeros often distinguish their distinctive bembs as tambores, meaning
drums, or as wemileres (or gemileres), a Lucum word for a tambor in which
consecrated bat drums are used.5 I opt to use the Santera-specific term tam-
bor, which is the word I most commonly heard santeros in Santiago use, espe-
cially because wemilere is a subtype of tambor.
A tambor is a festive ceremony held in honor of the saints. Music, dance,
and merrymaking are essential characteristics, and yet, as much like parties as
they might seem, tambores are serious ceremonies in which protocol is care-
fully monitored. A santero will host a tambor in his or her private home by
hiring one of the half dozen consecrated sets of bat drums in Santiago or one
of any number of unconsecrated bat sets as well as a singer. There are always
three and only three bat drums played, and the singer is always male. These
prescriptions distinguish Santeras tambores from the more free-form and
variable bembs other religious folk in Santiago hold for their saints or spirits.
In addition, if the tambor host wants to ensure that a particular oricha will
descend to offer advice and bless the proceedings, the host may opt to hire a
santero known to be skilled in receiving their oricha in possession trance. This
doesnt mean that others cant also go into trance, and this element of surprise
adds drama to all bembs: you never know who will show up.
Although the host of a tambor may specifically invite family and fellow
santeros, word spreads once someone has hired the drums, and many neigh-
bors and other religious or simply curious onlookers may also come. It is quite
usual to count 50 or 60 people crowded into a modest-sized living room during
a tambor. When the room gets too full, or as participants overheat or tire, they
spill out into the yard and street, drawing more passersby into the festivities.
Participants in a tambor drink rum, talk, join in the call-and-response singing,
and in addition rhythmically clap, dance, and call out. The festive energy bor-
dering on chaos is essential to heating up the event enough to attract the saints.
Once the tambor gets their attention, the goal is to incite them to descend and
mount their devotees to join in the fun. Indeed, the drum rhythms, clapping,
and dancing, together with the intense sensoria of rum, sweat, heat, and bodies
pressed close together certainly ripen physiological conditions for transcen-
dent states in participants. I am not liable to fall into trance myself, but I have
certainly felt transported by the experience of a tambor, as if the rhythms, and
not I, had control of my body.
There is a definite tension between the ritual need to build energy and the
dictates of ritual structure. Many times I have heard santeros in charge of a
tambor admonish the crowd to drink and chat less in order to sing and dance
more. Sometimes a senior santero or the singer will silence the drums and
demand that all aleyos, or noninitiates, clear out of the room to make space for
santeros to dance and sing appropriately. Many santeros have commented to
me, usually shaking their heads knowingly, that Santiagueros dont know how
to behave themselves in wemileres because they are accustomed to the wildness
of regular bembs where, santeros claim, anything goes. In the tambor I will
soon examine, the singer stopped the drums at one point early on to complain,
as no se puede guaranchar (it is not possible to party like this), after which
a senior santera who had helped organize the tambor exhorted the crowd to
sing.
At this, despite the continuing din of people talking and laughing, the
drums started up and the singer resumed singing. The singer hired to lead the
songs of a tambor bears an enormous responsibility for the tambors success.
He (and in Santiago it is always a man) must know dozens, if not hundreds, of
songs in Lucum and which orichas each song can be used for. He must also
have mastered the proper order of songs for the start of the tambor and know
how to handle the delicate situation of guiding a possession trance to fruition
by carefully choosing songs and treatmentsspecific lines he interjects in
the call-and-responseto alternately pique and assuage the temperamental
oricha. A singers skill is judged by his repertoire, his ability to generate excite-
ment and participation in the crowd, and his adeptness in guiding an oricha
down in possession trance.
Singer and setting

Germn was the singer in the tambor we investigate here. He is much in de-
mand and makes his living through religious work in the informal economy.
Most santeros in Santiago regard him as one of the best lead singers in the
city, although a few quietly complained that he would have better mastery of
Lucum if he applied himself. He has a reputation for being something of a
rascal. Germn is renowned for his skill in bringing down the saint and infa-
mous for his ability to sing gifts out of the saint once it has taken possession.
That is, he knows how to alternate praise and insult so that the oricha will give
him offerings from the altar: cakes, bottles of export-quality rum, dollar bills.
Sometimes the host (of the tambor) will despair, because that Germn will
empty his altar and carry it home, laughed one santero. In the tambor exam-
ined here, Germn gets his comeuppance from the oricha.
Tambores begin formally and gradually become more improvisatory. Dur-
ing the afternoon before the tambor proper begins, the drummers arrive and
play the Orun seco, or dry song cycle for the spirits of the dead. No singing
accompanies the drums through their set program of rhythms for each oricha
in its proper turn. Then a senior santero and the host do a divination with
coconut-shell pieces to ensure that everything is auspicious. Later, the drums

start again through the proper progression of oricha songs, this time with the
singer leading the small group already present in song. This opens the main part
of the tambor, which some santeros call the Orun de Ay Aranl, or Song of
Ay Aranl.6 Next, singer and drums play songs for the orichas of all santeros
present, who identify themselves by stepping forward to dance a greeting to
their principal oricha and greet and make an offering to the drums. As evening
falls and the place fills up, the singer may choose any song he wishes, switching
to songs in honor of the principal oricha of any newly arriving santeros, who
are supposed to come forward to dance when they hear their orichas songs.
It is during this longest, free-form section of the tambor that saints may
descend to possess those present. A person can only be possessed by his or
her principal saint, although not all priests are capable of possession trance.
Sometimes someone falls into trance for the first time or only part way, run-
ning out of the room to avoid being fully possessed. In the course of the tambor
described here, about six people fell into trance to varying degrees, but only
two of them fully descended to talk as their orichas. One had been hired as
a subidor, literally a riserone who rises into possession trance reliably.
Once fully possessed, he was taken into the back to be dressed in his orichas
regalia, then emerged to dance and speak to the crowd in the main room for
about two hours. The other descended spontaneously, and once arrived, settled
himself in the altar room to dispense advice to several participants for maybe
a half hour.
Layers of interpretation of the tambor

With the permission of the tambors host, I was able to videotape most of the
tambor, including sequences in which participants fell into possession trance
and in which the just-described activities of the two descended saints occurred.
I will now discuss some transcribed segments of the video in order to illustrate
what makes a possession trance a potential religious experience. I have already
discussed how not all participants necessarily share a religious experience in
the same moment. In the case of a possession, there is the experience of the
person falling into trance, accessible only through his or her intersubjective
performance (which incorporates reactions of other participants) and (at least
potentially) through retrospective accounts from the possessed person, who
invariably says that he or she remembers nothing. There are also the perspec-
tives of witnesses to the possession trance, who themselves perform various
crucial roles as the audience in whether and how they ratify the orichas pres-
ence. Triangulating among these perspectives and performances clarifies the

ways in which the ritual frames events as particular kinds of events, while al-
lowing room for multiple interpretations of what the events mean.
The recording of the event permits an additional layer of interpretation,
which was provided by two santeros who separately viewed the videotape later
to offer their transcriptions and comments. Because recordings of tambores
are noisy, transcribing individual voices is difficult. When those voices are
speaking in an esoteric register, the ambiguities multiply. Where transcrip-
tions differ, I have chosen to retain both, because the differing interpretations
accompanying such divergences are telling. Beyond the transcriptions they
provided, my transcribers efforts to make sense of events as they unfolded on
the video provide a particularly revealing view of the interpretive efforts sante-
ros seem to go through when participating in ceremoniesa process of critical
observation of which I saw evidence many times but which the video playback
let me probe to a degree seldom possible during the rituals themselves. I have
divided my analysis of the tambor into five consecutive segments based on the
principal activity occurring at the time.
My goal in examining these transcriptions in such detail is to address the
chapters central question of how santeros evaluate the religious experiences
that rituals directly provoke. Each time someone falls into trance, ritual par-
ticipants must decide whether or not they are face-to-face with a deity who
has possessed one of their friends or neighbors. To do so, I argue, they attend
to the finest-grained details of the possessed persons behavior, including their
speech. I will first identify several interactional tropes that mark possession
trance and shape how people and deities interact. These tropes constitute pat-
terns of speech and other behavior that first convey cues about where in the
transformation between human and divine registers the entranced person is
located at any moment and second distinguish the fully possessed person as
a special divine participant to be treated in specific ways. I will also consider
the two santeros after-the-fact reactions to the video playback. Their interpre-
tations of events provide a close look at religious practitioners sensitivity to
doubts and problems when they reflect upon whether an event constitutes a
religious experience.
Segment 1: Falling into possession trance

The first segment covers a stretch of 17 minutes during which Mario, the subi-
dor hired to dance his oricha Yemay, fell into possession trance. During this
time, the singer, Germn, led participants in about ten songs of which all but
Figure 5.1. Ritual participants dance the aro de Yemay around the santero hired to be possessed
by her.
two were songs for Yemay. As he began the first one, several of the senior
santeros in charge of proceedings organized all the santeros present into a
circle around Mario and the host of the tambor, a young man named Ramn.
Mario quietly rocked in place, his body facing the drums and his head down.
Ramn danced at his side, glancing at him from time to time. Meanwhile,
about a dozen santeros, men and women, danced in a slow, counterclockwise
circle around the pair. Germn stood just outside the circle, leading their sing-
ing, and looking between Mario and the drums (see figure 5.1).
This circular configuration and the songs that accompany it are called the
aro of Yemay, a Lucum name that, as santeros explained it to me, refers to
Yemays character as the oricha of the ocean. The aro dance represents a swirl-
ing whirlpool, which is one facet of Yemays personality as the ocean.
As the circle danced, they sang enthusiastically and many clapped rhythmi-
cally. One santera shouted out: habla! meaning talk! While it is not clear
whether this command is directed to the participants or to the orichas, it serves
to encourage both the singing and the onset of possession trance. For eight
minutes, through three songs, this activity continued.
Already the participants expectations were clear: everyone present knew
that the pensive Mario in the center of the circle was waiting to fall into trance
Figure 5.2. The santero falls into trance as Yemay takes possession of his body.
and that the activity around him was to encourage that moment. As Germn
began a new song, Mario suddenly convulsed, his limbs flying. He threw his
head back, his face contorted, and then hid his face in his hands. As he seemed
to lose control, Germn stepped forward to sing loudly at him, and the circle
of dancers watched closely, reaching out to steady him or restrain a flying arm
or bracing themselves as he stumbled against them. Marios eyes were squeezed
shut. At first, he stood for a moment as if frozen. Then suddenly his entire body
convulsed violently. This alternating pattern of paralysis and convulsion con-
tinued for about three minutes, often in seeming response to Germns lines in
the call-and-response songs (see figure 5.2).
Santeros use the Spanish verb arullarse to describe the hectic bodily move-
ments at the onset of trance. When Mario began to tremble and flail, both
santero-transcribers told me he was arullando (losing bodily control).
Tropes of trance and signs of doubt

In order for the oricha Yemay to manifest her presence, Mario must tempo-
rarily disappear, so that a different self animates his body. As Corin describes it,
possession trance involves the self s permeability to some kind of Otherness
(1998: 88). It is not surprising that the transition between Mario and Yemay
is heavily marked by interactional tropes. The audience itself helped cue the
transition by encircling Mario in a dance for Yemay and singing songs to her.
Marios fall into trance then performed the estrangement of his mind from
his body. The tremors and convulsions, which are usually involuntary bodily
movements, signaled his loss of control over his body. He began to rub his
head, the seat of ones spirit in Santera, drawing attention to a struggle within
it. His eyes closed, marking a loss of consciousness.
Once Mario was absent, a new presence exerted itself over his body. Amid
the convulsions, Mario began to dance again. Over six minutes, Mario-Yemay
opened his eyes and began to dance in a grandiose, powerful way, all sweeping
arms and huge steps. The culmination of the process was his performance of
the swirling aro dance, in which he spun dramatically and cleared a wide area
where earlier the santeros had crowded in and encircled him in a much more
sedate version of the aro. Santeros explained to me that Yemay dances the aro
to signal her presence and her power to remove sicknesses.
Meanwhile, Germn had responded immediately to the first signs of Marios
trance by moving in toward him and singing the songs directly to him (figure
5.3). This change in focus created an equivalence between Yemay, as the ad-
dressee invoked by the song lyrics, and Mario, as the addressee marked by the
gaze and gestures of the singer. Yemay was in Marios body, ready to receive
Figure 5.3. The lead singer directs his song to the man falling into trance.
her songs of praise. When Mario turned away or held his face in his hands,
Germn would pursue him, shouting his song at his head. More often than not,
Mario would sink into convulsions again.
The song that triggered the onset of trance is a familiar one at tambores and
is obviously directed to Yemay. Surprisingly, however, the words are partly in
Spanish, suggesting that the song is not part of the true Lucum canon of Santera,
but borrowed from the more heavily adulterated corpus of bemb songs, many
of which substitute Spanish phrases for unintelligible Lucum (see ch. 3 n.8).
Lead (Germn): Wini wini Yemay, yo estoy solito, que le vamos a hacer
Chorus: Wini wini Yemay, yo estoy solito7
Germn continued with several other songs, each addressed to a different
camino or path of Yemay. The crowd enthusiastically sang the chorus, and
as Yemay emerged dancing out of Marios earlier stillness and trembling, Ger-
mn sang his lines less stridently and more conversationally toward Yemay.
As he began to sing the aro of Yemay, Yemay promptly began to dance the
aro, her special dance.
In this and in other possessions I observed, two interactional tropes inform
the sequence of falling into possession trance: (1) the bodys estrangement from
its owners control and its possession by another controlling force and (2) the
possessing entitys responsiveness to the situation. By responding appropri-
ately to the songs, the entering deity proves its identity. Moreover, the deity
establishes a basis for two-way communication with participants.
But one of the santeros who examined the video had already detected an
error: Mario-as-Yemay had opened his eyes of his own accord, whereas his
eyes should have remained closed until another santero touched the lids. He
explained that the person being possessed would not have the volition to open
his own eyes and that the saint would not be fully in possession until the eyes
were opened. Therefore, this minute error suggested that Mario, not Yemay,
was present. The critiquing santero then spread the blame to the other partici-
pants, pointing out that the initial song triggering the trance had not been a
proper Lucum song, but an adulterated song borrowed from bembs.
Segments 2 and 3: Greeting the arrived oricha

At the time of the tambor, however, nothing seemed amiss. In the second seg-
ment, lasting only a brief two minutes, Yemay was fully in control of Marios
body and fully responsive to the situation. She began greeting people, then was
taken into a back room to be dressed in her clothes. From this point, I refer
to Mario in his trance state as the feminine Yemay. Having finished her aro
dance, Yemay greeted each drum by lying before and resting her head on it.
Next, she stood and hugged each drummer (figure 5.4) and then, in a higher-
than-normal pitch of Marios voice, began to speak:
1 Yemay: Ah! (greets Germn by prostrating herself)
2 Ah! Bobo ku e yuma
3 Many voices: O-oo (Germn now kneels before her)
4 Yemay: Bobo ku e yuma
5 Many voices: O-oo
6 Yemay: Ah! Baba a Yemay enso boboyu Ah!
Though they could not decipher its exact meaning, the santero-transcribers
recognized Yemays utterances here as a formulaic greeting. One santero said
that all arriving saints make this greeting, whereas the other claimed it was a
greeting special to Yemay. The ready Lucum response of the other partici-
pants in lines 3 and 5 suggests that the greeting is a common one, although
this was the only time I heard it used during a tambor. After the exchange,
Yemay began to hug individual participants and to say a few words to each as
Figure 5.4. Yemay greets the drums.

Figure 5.5. Yemay speaks with one of the other ritual participants. The money tucked in her cap
is an offering to her that she can dispense to others as she wishes.
she made her way toward the back altar room (see figure 5.5). The drums and
singing resumed.
Two additional interactive tropes emerged in this segment of Yemays greet-
ings: the saints responsiveness to and Otherness from their human children.
The saints are known to demonstrate affection for and intimacy with their hu-
man children. In ceremonial settings, a saint typically greets all the santeros but
lavishes special attention on those for whom he or she is the principal saint.
As an example of this, Yemay sometimes followed her greeting and hug with
an act of blessing or purification, such as rubbing someones stomach or wip-
ing sweat from her own onto another persons face. In addition to showing af-
fection, Yemays purifying act specifically illustrated the Otherness of all pos-
sessing entities, who freely transgress ordinary social mores and whose sweat,
even, has ach. Many typical behaviors of possession trance invoke this trope
of Otherness. Perhaps most striking in this regard is the orichas speech, which
incorporates many Lucum words and phrases. In addition, the speech of pos-
sessing saints is heavily accented and riddled with errors, as if the speaker had
only a rudimentary grasp of Spanish. We will see examples of this as we go on.
As the singing and drumming continued during the next 25 minutes, Yemay
finally reemerged from the back room. There, Marios t-shirt and pants had
been replaced by a bright blue blouse and puffy breeches, all with white trim
and sequins. Yemays colors are blue and white, and while female devotees
wear a dress in these colors, males wear breeches. Yemay also wore a blue se-
quined cap, under which had been tucked a number of dollar bills that flapped
down over Marios eyes.
Yemay moved through the crowd toward the drums, again stopping to
greet several people and telling one man, Emi lenu ba umbo aro (arawo?) que
binu ara que elese. Abo! The man smiled and nodded. Although Yemays
words were not completely intelligible to either of the santero-transcribers,
one suggested that the first part of the phrase, Emi lenu ba umbo, means I
will speak to you, while the second part, ara que elese, refers to good fortune
due to the influence of the orichas. In other words, Yemays words can be in-
terpreted as a blessing. For those receiving a blessing or a bit of saintly advice,
such moments may be particularly vivid religious experiences, although I do
not know what the man felt as he smiled and nodded or whether his feeling
changed over time as he reflected on Yemays words.8 In the next segment of
the tambor, the singer Germn was in a similar situation of receiving a mes-
sage from Yemay and did give some clues about how he interpreted Yemays
words.
Segment 4: Saint and singer clash

During the first part of the next 13-minute segment, Yemay again danced and
listened to Germns singing. As he had done earlier, while Mario was fall-
ing into trance, Germn again directed his lines to Yemay. Now, however,
the songs were addressed not just to Yemay but to other orichas or to both
Yemay and another oricha. Opposite the chorus, santeros interject treatments
into a song. While singers tend to have a stock of preexisting treatments to
draw from, their combination in particular songs can be improvisatory. In this
way, the lead singer uses the medium of song to communicate with a saint and
try to elicit a particular response. For example, lead singers may use a line that
refers to a particular legendary escapade of an oricha to praise or even provoke
that oricha. Santeros and singers agree that singers have to use caution in sing-
ing inflammatory lyrics so as not to seriously anger an oricha. Germn, like
other singers, sometimes deploys provocative treatments to elicit offerings and
gifts of money from the orichas.
In Germns song series, the two santero-transcribers cataloged his treat-
ments as one for Yemay with Ochn and with Chang; one for Yemay
alone; one for Chang alone; and another for Obatal. After six minutes of
these, Yemay, who had stopped dancing and was staring hard at Germn,
pulled a dollar bill from under her hat to give him. Germn, smiling broadly,
pocketed the dollar and turned up the heat. He continued with the same song
for Obatal, a bemb song with lines in Spanish that one santero explained
could be used as a treatment for any oricha:
Germn: Bobo isale

Chorus: Bobo isale
Germn: Para que me llame
So that you will call me
Chorus: Bobo isale
Yemay then shook off her hat and backed away toward the altar room, still
staring hard at Germn. Germn followed, still singing. Thus far, the sequence
followed a pattern familiar to santeros, one invoking the trope of the orichas
responsiveness to human interests. Yemays stares indicated that she felt pro-
voked by songs praising other orichas and could be moved to prove her own
greater generosity by giving the singer gifts. Having given Germn money, she
now headed toward the back altar room to get another gift from her altar.
But instead, Yemay abruptly turned back into the main room. The drums
fell silent as she drew near. What follows is a transcript of her conversation
with Germn, as many of the other participants looked on curiously. Unprob-
lematic Spanish utterances are translated into English. Where my transcribers
offered glosses of Lucum phrases, I include them in quotation marks. Where
they could not translate a Lucum word, I retain it in the translation to give a
sense of its unintelligibility. Where a Lucum word is well known to santeros,
even if unglossed by my transcribers, I bracket it in my translation. Orichas
also sprinkle their utterances with markers of bozal Spanish, a sociolect de-
rived from the nonstandard Spanish spoken by Africans who learned Span-
ish only imperfectly (Isabel Castellanos 1990; Schwegler 2006). Characterized
by peculiar pronunciation and faulty grammar, bozalisms create intelligibil-
ity problems where the line between Spanish and Lucum may be ambiguous
(Schwegler 2006; Wirtz 2005). Where a phrase contains ambiguous words that
my transcribers nonetheless interpreted as Spanish or where a phrase contains
bozalisms, I mark the original line with an asterisk and, where possible, give a
literal rendering in English of the nonstandard usage.
8 Yemay: Emi o ago (chanted)

Ask my permission!
9 Germn: Nago (kneels)

10 Yemay: Ei omode, Sabo!*
You are a child, do you understand?
11 Germn: S seor
Yes siree
12 Yemay: Dicha fuera aque son mucho que amor en amure, si t son
mi amor*
Remember as much as people may talk, if you are my child
13 Germn: S
Yes
14 Yemay: Emi ni son la mare de la mundo*
I am the mother of the world
15 Germn: S seor
Yes siree
16 Yemay: Sabo!*
Do you understand?
17 Germn: S seor
Yes siree
Yemay admonishes Germn to respect her as the oricha who is mother of
the world (line 14). His place is as a child, the parent-child relationship being
a common metaphor to describe the relation between orichas and their hu-
man devotees. In fact, Germns principal oricha is not Yemay but Eleggua.
Germn responds, perhaps a bit impertinently, with the informal, yes siree,
in lines 11, 15, and 17, which is denotatively marked as addressing a male, sir,
but is pragmatically gender neutral, conveying playfully vigorous agreement.
Yemay, for her part, is speaking seriously, but in the barely intelligible style
that marks orichas speech during trance possession. Instead of asking, en-
tiendes? (do you understand), she chooses the incorrect verb for to know
and then does not conjugate it correctly: instead of sabes?, she says, sabo!
(See for example lines 10 and 16.) Yemays speech is littered with faulty agree-
ment between nouns and verbs and between articles and nouns. Such errors
are stereotypical bozalisms, and they mark Yemays lack of fluency in Spanish.
Moreover, Yemay mixes codes, combining the Lucum first-person pronoun,
emi ni (in an emphatic form a Yoruba speaker would recognize) with the
Spanish are the mother of the world (using an incorrect third-person plural
conjugation of to be) in line 14. In other words, Yemay, like other orichas,
speaks in much the way enslaved Africans likely once did as they struggled to
learn Spanish in Cuba.9
Yemay then sang a Lucum song unfamiliar to my transcribers, although

another santera identified it as a bemb song introduced into Santera tambo-
res. The onlookers enthusiastically picked up the chorus, as Yemay sang each
of her lines several times through, and the drums, too, joined in:
18 Yemay (sings): Rumbe sarawe yaranyara, rumbe sarawe yaraa

19 Many participants: Rumbe sarawe yaraa
20 Yemay: Ofuncito son hombre yaraa*
(proper name) are man yaraa
22 Yemay: Yo tiene pantalon yaranyara*
I has pant yaranyara
Germn then stepped up to the drums to take up the lead. Each transcriber
heard a different line.
24a Germn (sings): Yo soy hijo de Eleggua yaranyara

I am a child of Eleggua yaranyara
or
24b Germn (sings): Los hijos de Eleggua wara wara
The children of Eleggua look for mischief
At this, the drums fell silent, and Yemay interrupted Germns singing.
Before examining her retort, consider what is unfolding through Yemays
song and Germns rejoinder. In lines 816, Yemay admonished Germn to
show her more respect. Her song in lines 1823 may continue in this vein.
One santero-transcriber pointed out that Yemays rumbe sarawe in line 18
sounds like the folk name of a plant, rompe zaragy, an herb Spiritists use in
purifications (see D. H. Brown 2003: 309, n.1). He suggested that her song is an
insultwhat Cubans call a pulladirected at Germn (see Isabel Castellanos
1976: 15558). In this case, Yemay may have been hinting that Germn needed
to undergo a purification because he had been disrespectful to her. If so, it is
not surprising that Germn broke in to retort that he is the child of Eleggua
(line 24a)an indirect counterchallenge, perhaps, that Yemay will have to
take on Germns protector, Eleggua, if she plans to bother him.
The other transcribers version (line 24b) also permits the interpretation
that Yemay and Germn are trading insults. In saying that the children of
Eleggua look for mischief, Germn may have been reminding Yemay about
his principal orichas characteristic penchant for trouble. In either case, Yemay
quickly silences Germn. If we follow the santeros narrative thread, after an-
other round of pullas in the next section, Yemay pulls rank on Germn, pre-
scribing a special purification he must undergo and, in essence, reminding him
that she is the deity and he a mere human. What had Germn done to merit
Yemays anger? As events unfolded on the video, the first santero-transcriber
recalled and reinterpreted the earlier songs Germn had been singing in his
attempt to win gifts. Germn had perhaps gone too far in praising too many
other orichas at Yemays expense and thus irritating her.
Let us briefly consider an alternate interpretation proposed by the second
santero-transcriber. He viewed the lines alluding to masculinity (20 and 22)
in Yemays song as problematic. Was she saying perhaps that she embodied a
masculine camino or path of Yemay? And who was Ofuncito? Repeating his
earlier doubts about how real Marios trance was, he tentatively suggested that
Mario was as likely to have been possessed by a muerto, a spirit of the dead,
as by the oricha Yemay. He reminded me that Germn had made an error
in singing a bemb song to bring down Marios trance and that Marios eyes
had opened without the proper touch by another santero. Now Mario-Yemay
was singing in the style of a true bemb de sau (old-fashioned, rural bemb)
in which a muerto might announce his presence by singing his own name
(Ofuncito?) or by dropping hints about his male identity: yo tiene pantalon
yaranyara (line 22). Germn had then continued in the bemb vein by singing
another bemb song line: The children of Eleggua look for mischief.
I hasten to point out that the santero-transcriber was very tentative in of-
fering this interpretation. For him, a clear narrative had not yet coalesced to
make sense of the exchanges between Germn and Yemay. However, his un-
certainties reinforced his growing doubts about Marios Yemay. As the video
continued, both santeros became convinced that something was wrong about
this Yemay and that Mario was not fully possessed by a saint, but by what
santeros euphemistically call a santico (little saint). In other words, he was fak-
ing. This interpretation would account for Germns disrespect of Yemay, sug-
gesting that he, too, had doubts about the authenticity of her presence and so
was willing to play games and trade insults with a false deity and to push the
limits for his own gain. Marios Yemayhere in scare quotes to signal the
counterfeit orichawas desperately trying to be convincing. Her subsequent
critique of Germn and demand that he undergo purification was an attempt
to play the divine role by invoking the proper tropes of oricha behavior, includ-
ing prescribing a ritual to remove an offense.
The two santeros vacillating interpretations highlight the problem religious

participants themselves have in deciding whether an event constitutes a reli-
gious experience. Participants interpretations of given events may change over
time with new information, just as both santeros became less willing to regard
Marios trance as a truly sacred possession as the video continued.
As the encounter between singer and saint continued, Yemay responded
to Germns interruption by reminding him of her status as an oricha and cau-
tioning him against insulting her, perhaps because Eleggua would not protect
someone guilty of offending another oricha. The exact wording of line 26 is
uncertain.
25 Yemay: Sabo mi amor, ochanbera* (head to Germns chest)

Do you understand my dear, ochanbera
26a Aqu toda la ocha cuando son piguera son de la misma tierra
Here all the orichas when they are piguera are from the same land
26b Recuerda mi omo que toda la ocha cuando son siguere lo mismi
tiene*
Remember my child that all the orichas [even] when they are
crazy have the same thing
27 Germn: S, s
Yes yes
28 Yemay: Sabo, mi amor*
Do you understand, my dear
29 Germn: Yo s entiendo
I do understand
30 Yemay: La cosa
The thing
31 Germn: No te preocupe, yo s entiendo, yo s entiendo
Dont worry, I do understand, I do understand
32 Yemay: Emi ni quiere que en este hog sea*
(I) want it to be in this home
33 (sings) E okana e okana
34 Germn: Nunca va a llegar eso
That will never happen
35 Yemay: (sings) Okanani okanani wa, okanani
okanani wa abure la ocha
36 Germn: Nunca va a llegar eso
That will never happen
Yemay improvises a second song, in lines 33 and 35, in order to critique

Germn. One santero-transcriber glossed its meaning as a reference to the
heart (okan) and to how all are brothers (abure) in the saint. In other words,
Yemays song censured Germns penchant for creating trouble and discord.
In his duplicate interjections in lines 34 and 36, Germn replies that brotherly
harmony will never exist. Yemay, nevertheless, wins this round by drawing
the audience into the call-and-response that follows in lines 3742, effectively
silencing Germn with group song.
37 Yemay: Okananiwa abure kanani

38 Many participants: Okananiwa
39 Yemay: Abure karane
41 Yemay: Abure karane
At the songs conclusion, Yemay announced the ritual Germn had to

perform to appease her and remove the offense of being so disagreeable. By
making this announcement public, Yemay ensured witnesses as to whether
Germn carried through on his purification or not. The unspoken coda of such
ritual prescriptions is always that if one ignores the orichas mandate, one dares
the oricha to cause the very problem the ritual is supposed to prevent.
43 Yemay: Sabo! Entonce emi ni quiere que ponga afinidad*

Understand? So (I) want you to behave agreeably
44 Como sn, y ponga amor, sabo!*
How is it? And act with love, understand?
45 Cuando llegue el edn, el ltimo dn, de este ao, ?no?
When the end of the (year), the last (year) of this year, no?
46 Cmo son? El ltimo dn?
How is it said? The final (year)?
47 A few voices: El fin del ao
The end of the year
48 Yemay: Al ejil, cmo son?
At (twelve), how is it?
49 Two women: (unclear)
50 Yemay: Al ejil
At (twelve)
51 Female: Oiga, mira
Listen, look
52 Male: El, el diciembre de este ao

The, the December of this year
53 Yemay: Cmo son el da?*
How are the day?
54 Woman: El da doce de diciembre
The twelfth day of December
55 Yemay: A la doce lod,sabo!*
At twelve (at night), understand?
56 Many voices: A las doce de la noche
At twelve oclock midnight
57 Yemay: Dice, me lo va a buscar un carbn, sabo*
It says, you will go find me a charcoal burner, understand
58 Male voice: El carbn
The charcoal burner
59 Yemay: Me le va a la ina a ese carbn*
You will to the (fire) to that charcoal burner for me [that is, you will
light it]
60a Yemay: Sabo, cuando de la sonsa me lo va a prend*
60b Sabo, cuando de la sonsa le va a dar ina*
Understand, when at eleven you will light it (for me)
61 Cuando llega la dosa vamo a apagar ese carbn*
When twelve arrives let us extinguish that charcoal burner
62 Female: A las once
At eleven oclock
Yemays performance continued to hold at least some of the audiences at-
tention. Her apparently limited competence in Spanish, oblique statements,
and questions like cmo son? (how is it said?) drew participants into a
sort of guessing game in which they deciphered her message to Germn as
he (somewhat impatiently) listened. In a call-and-response not unlike the
songs themselves, she inserted Lucum words into Spanish sentences, allow-
ing someone from the audience to translate the unfamiliar word and reveal
her message: Dn is year, but here it is also used to mean the last day of the
year; ejil is twelve, meaning 12 oclock, although someone first guessed it
to mean the 12th day of the 12th month. She kept the audiences attention
through this guessing game until the ritual instructions were clear: at 11 p.m.
on New Years Eve, light a charcoal burner, then at midnight extinguish it.
She went on in a similarly oblique and only partly intelligible manner to
explain that Germn should douse the charcoal brazier with omi tuto (cool
water). She makes the prescribed ritual a metaphor for his problem: like the
charcoal burner, he gets overheated and so must have his fire or anger cooled
with water.
While Germns temperament is well known in the religious community,
it seems that he triggered Yemays censure on this particular occasion by of-
fending her. Perhaps she was piqued that he sang songs to other orichas or
acted overly greedy in manipulating her into giving him so many gifts. His
willingness to keep provoking her by invoking the protection of his own ori-
cha, Eleggua, may also have annoyed her. Indeed, she gets in one final insult by
suggesting that the ominous signs for the coming year are Elegguas fault.
63 Yemay: Porque el edn que viene ningn edn son buena*
Because the (year) that comes, none of the (years signs) are good
64 Germn: No, ninguno, ninguno, s, s
No, none, none, yes, yes
65 Yemay: Porque son de Eleggua
Because they are Elegguas
66 Germn: S, s
Yes, yes
67 Yemay: Pero que viene mod
But when (tomorrow) comes
68 Several voices: Es peor
It is worse
69 Yemay: Modupwe, en este sentido
(Thank you), in this sense
Throughout this interchange, Germn seems humble, almost obsequious, in

agreeing with her.
Segment 5: The singer offers excuses

Publicly chastened, Germn begins to sing again, this time choosing songs
for Yemay and not other orichas. The subtleties of Yemays and Germns
interaction, so apparent to my transcribers, were probably missed by most par-
ticipants at the time, primarily because Yemays speech uses enough Lucum
and nonstandard Spanish to be very oblique. Such obliqueness of meaning is
typical of orichas speech when they become present during possession trance.
Yemays insults have more weight because they are embedded within tropes
of trance possession, especially speaking and singing in Lucum and giving
advice and ritual mandates.
Germn interrupted his singing and stopped the drums twice during the
next few minutes to complain that people were not singing properly. The sec-
ond time he framed his complaint as an apology to Yemay.
Yemay, I am religious, but the singing cannot continue like this be-
cause people have to help me out. The singing cannot continue [like this].
We are with the consecrated drums.10
Germn first explains that stopping the drums is not a sign of disrespect by
declaring that as a religious person, he is appalled that other participants are
not singing. Given that Yemay has only just finished berating him for not be-
ing religious enough, his choice of words comes across as a more general pro-
testation that he does act responsibly as a devout santero. As to his complaint,
many people in fact were singing, although others were chatting, sometimes
shouting, over the music. His final comment is a reminder to those present
that the ceremony is no ordinary bemb, but a wemilere, a Santera ceremony
with consecrated bat drums. If we recall his earlier disrespect in too ob-
viously trying to get Yemay to give him gifts, this sudden holiness seems
ironic. He may indeed feel chastened by Yemay. It is also possible to view
his current show of religiosity as annoyance at being publicly called to task
for his behavior. Spreading the blame around to others is one way of recover-
ing face.
In response to his pious complaint, Yemay supported Germn by putting
her hand on his shoulder and calling out to the crowd, fun mi aa (give me
consecrated drums), a way of asking for proper participation. The din of many
voices continued, and someone in their midst tried to shush them. One man
can be heard commenting on Germns complaint: It wont be singing for
him, but for Yemay. This remark suggests that some participants regarded the
entranced man before them as the embodiment of Yemay, and that Yemay
had at least some of the audiences support in demanding more respect from
Germn.
The tambor continued for over another hour, with Yemay present through-
out, until she closed the ceremony by again dancing the aro, this time with a
bucket of water to remove impurities and cast them out into the street. Both
of the santero-transcribers continued to be skeptical of her authenticity until
the video recordings end, finding the trance unconvincing. This conclusion
strengthened their interpretations of earlier events between Yemay and Ger-
mn.
Conclusion
This extended case study illustrates the complexities of identifying and un-
derstanding religious experiences in real-time events, as well as their inter-
subjective construction. The entire ritual event is governed by participation
frameworks that conventionalize this sort of ceremony, which I have described
as performable tropes of interaction that signal what is afoot. These are sugges-
tive, never deterministic, which is why the unexpected can transpire in a tam-
bor and why some might even dispute or find problematic any particular event,
even when it is framed as a religious experience. Indeed, I have suggested that
such rituals have built-in ambiguities, often generated by the unintelligibility
of Lucum songs and orichas speech.
At the same time, the ceremony does have a coercive effect, or perhaps bet-
ter said, various mechanisms of emplotment (including those produced by
unintelligibility, such as the need for decipherment), so that everyone present
continues to conform to expected participant structures, even when joining in
the chorus of a song whose words they do not understand, or trading insults,
or admonishing other participants. By continuing to act as if a deity were pres-
ent, whatever their private doubts, other participants give the deity a chance to
be present and to deliver a religious experience, at least to some (including, I
suspect, the one possessed). The ritual itself conveys the sense that a consensus
emerges about whether to treat any particular possession trance as authentic,
but this emergent consensus does not prevent anyone present from forming
a separate opinion about what has transpired, as did the santeros who later
viewed the video recording. In doubting the presence of an oricha, the sante-
ros demonstrate the importance of a skeptical eye for ritual details when one
is evaluating a ritual performance. Santeros present at tambors may privately
conduct running critiques of events and their details in order to decipher the
experience. Certainly, we will see in later chapters that they extensively discuss
rituals after the fact.
Given the rich, even overwhelming, sensorium of a tambor, we might be
tempted to focus on the phenomenology of this ritual to the exclusion of the
interpretive side of experience. Both are present, however, and both are shaped
by the expectations generated by the ritual form itself. The overriding trope of
tambores, and indeed of most rituals in Santera, is that humans and deities
must enter into two-way communication in order for humans to achieve their
desired ends. Such communication is difficult to accomplish, and even when
achieved, humans must struggle to interpret what the saints say in their cryptic
manner of speaking.
The very difficulties involved in making sense of rituals and their outcomes
encourage santeros to continue to ruminate over them, whether privately or
together. While my video playbacks generated a unique opportunity to evalu-
ate the tambor ceremony, the two santeros readiness to engage in critique
reminds us that their general attitude is one of skepticism, of seeking proof in
events. The next chapter explores some of the reasons for santeros skepticism.
They focus their doubts not on the orichas, but on one another. Chapter 7 then
explores the consequences of santeros skeptical discourses for their sense of
religious community.
III
Religious Community
6
Respecting the Religion,

Advancing in the Religion
El perro tiene cuatro patas, pero coge un solo camino.

(The dog has four paws but takes just one path.)
Proverb used by santeros
The proverb above, one frequently cited in divination results, could be a met-
aphor for Santera: everyone seems to be going in their own, individual di-
rection, but somehow, through all of the critiques, skepticism, and personal
agendas, one gets a strong sense of a unitary religious endeavor. My central
question throughout has been how the interpretive ferment surrounding ritu-
als produces Santera as a religion and moral community. In part 2 I examined
religious experience as a focus of ritual practices and reflection and a product
of their interaction, considering in particular how individual participants con-
struct (and deconstruct) intersubjective religious meanings in their experi-
ences. Those chapters also hinted at the prevalence of critical and skeptical
stances in santeros reflective discourse. In part 3, I examine how these ritual
and interpretive practices generate moral community. I save for chapter 7 a
discussion of how critical discourse (of the sort we saw abundantly in chapter
5) can promote skepticism and individualized interpretations of ritual experi-
ences without the entire enterprise dissolving in doubt. But first I examine
how rituals within Santera encourage both collective ideals and individual
strategizing among religious participants and how santeros adapt ritual forms
to both normative and their own sometimes subversive uses.
The tension between these two pulls, the communal and the individual,
is captured in two common phrases santeros use. On the one hand, santeros
often admonish each other to respect the religion, meaning to adhere to the
Regla, defer to those higher in the ritual hierarchy, and put religious values
ahead of personal gain. On the other hand, santeros talk of advancing in the
religion, by which they ostensibly mean gaining deeper religious knowledge.

But advancing in the religion also carries connotations of gaining higher ritual
status and materially benefitting from ones religious practice. These possibili-
ties are inherent in Santera (and across the popular religious complex), which
is pragmatically focused on improving life in the here and now.
Why, then, is there tension between these two tendencies? Santeros brand
of religious skepticism, we have seen, takes the form of vigilance about their
fellow practitioners motives, which santeros explain as an important safeguard
against those who would abuse their access to sacred power. Santeros perceive
a slippery slope between properly advancing in the religion and using the re-
ligion exclusively for ones own ends. They label the extreme case witchcraft,
but they are suspicious of a wide range of less grievous violations, from cut-
ting corners in ritual procedures to disrespecting the hierarchy to blatantly
using rituals to advance a secular agenda (making money, gaining status). Even
tiny details like the ritual singer Germns choice of songs or the possessed
santeros open eyes in chapter 5 can raise suspicions about ritual impropriety.
In discourse about rituals, santeros balance their own interest in advancement
with critiques and skepticism about others motives. As my analysis of the
tambor ceremony in chapter 5 illustrates, santeros skepticism fuels divergent
individual interpretations of communal events.
What keeps everything from flying apart or degenerating into recrimina-
tions? To address this question I explore how rituals maintain a dynamic bal-
ance between communal goals and individual agendas. For example, in the
divination ritual I analyze later in this chapter, the santero adheres to canonical
ritual forms of performing a divination: he invokes the entire community of
spirits and santeros; he voices the oracles response in Lucum; and he inter-
prets the results first through proverbs. In these and myriad other ways, ritual
practices in Santera promote collective ideals and shared meanings. But at the
same time and just as typically, the santero also shapes his interpretation of
the divination results to suit his interest in gaining a new godchild and what
he perceives to be his clients interest in advancing in the religion. That is,
ritual practices in Santera also promote individual agendas and personalized
interpretations that may contradict collective ideals and shared meanings.
The engines connecting the communal and individual impulses of religious
practice are to be found in both ritual forms and reflective discourse such as
gossip. The very divisiveness of gossip and other discourses of critique paradox-
ically works together with ritual forms to anchor shared meanings. In chapter
5, I focused upon santeros evaluations of each others ritual conduct, and this
chapter and chapter 7 are likewise full of gossip, critique, and controversy. In
Respecting the Religion, Advancing in the Religion 137
this chapter, I present an analysis of a divination I received in order to examine

how ritual forms used in divinations metapragmatically reinforce communal
values and meanings at the same time that santeros doing the divination find
ways to use those same ritual forms to advance their and their clients per-
sonal agendas. There was no irony in the marriage of these two aspects, the
individual agendas embedded within shared ritual forms. Something similar
is at work within another highly entextualized form of speech: the proverb.
On the one hand proverbs, such as those sprinkled throughout this chapter,
by virtue of being recognized as proverbs, have a certain traditionalizing and
normative moral force. They seem to convey common sense. But as Winick
(1998) points out, proverbs meanings only appear to be fixed, when in fact
they are highly contextualized and frequently employed creatively, revealing
quite elastic meanings. As with ritual forms, like divination, the staying power
of proverb lies in just this capacity to invoke timeless tradition and consensual
meaning, while being endlessly adaptable to novel situations and purposes.
Morality tales and divine sanctions

Las orejas no pueden pasar la cabeza.
(The ears cannot surpass the head.)
So said Emilio to me, my husband, and two new initiates we were visiting
during their initiation. Emilios friend, a senior santero, had invited us to pay
our respects to his two latest godchildren to initiate. One afternoon of the
week-long initiation ceremony is set aside for this presentation of the new
initiate. The two new initiates, called iyaws, were sitting on the mats that
delineated the boundaries of their altars, dressed in their special initiation out-
fits, surrounded by the ceramic vessels containing their newly born saints.
They had been yawning and restless throughout our visit, bored at being con-
fined to their altars for several days already. After saluting them by prostrating
ourselves and placing some money in the baskets at their feet, we sat in the
room with them for a polite amount of time chatting among ourselves, since
they seemed uninterested in conversation. Then Emilio stood up, turned to
them, and offered his advice. He told them to always respect their elders in
the religion, then gave the proverb above, the ears cannot surpass the head.
He repeated the pithy phrase with satisfaction, then explained it to them: new
initiates will always be junior to those who initiated before them and so must
always respect their godparents and other ritual elders, who are the source of
their religious status.
The proverb rang in my ears, especially because we had just been discussing
Emilios distrust of babalawos. Babalawos, the special male-only sect of priests

who specialize in the If system of divination, are a group apart from regular
santeros. If is simultaneously a part of Santera and a parallel to and distinct
religious practice from Santera (see D. H. Brown 2003: 14657). Many babala-
wos were first initiated as santeros before undergoing initiation as babalawos,
although it is also possible to be directly initiated into If. Once a babalawo, a
man cannot later be initiated as a santero. Babalawos are considered the most
elite and senior of priests in Santera. In Santiago, as I will describe in chapter
7, there was a fair amount of friction between santeros and babalawos, of which
there were no more than 15 in the entire city in 2000. As Emilio had been say-
ing, the santeros resented having to show respect to young upstart babalawos,
young men who had not stopped to be initiated as santeros before becoming
babalawos. In an often-repeated refrain, santeros like Emilio would complain,
Why should I, a santero initiated X years, bow down to some new, young
babalawo who doesnt even know the secret of initiation or much of anything
else in the religion? Emilio had explained to me that young, ambitious men
took this quick route out of greed, to quickly move to the most prestigious role,
thereby subverting religious initiation for selfish, even pecuniary motives. As
babalawos, they could charge exorbitantly for consultations and earn a good
living. Their godfathers in If were just as guilty, he said, because they agreed to
initiate the upstarts in order to make money charging for the initiation. Worst
of all, the babalawos were perceived to be arrogant, like ears trying to surpass
the head.
If a key aspect of Santeras sacred stance is recognizing divine interventions
in the course of life events, a closely related one is understanding that the saints,
sooner or later, punish those who disobey or abuse them. Divine and human
sanctions serve to reinforce collective religious aims by policing those who
would adapt the religion to their own ends. The communitys first line of sanc-
tions is gossip and other evaluative talk about specific rituals and particular
individuals. Santeros frequently discuss ritual violations they have witnessed
or heard about. Violations include neglecting details or steps of rituals, disre-
specting ones ritual elders, using the saints to do witchcraftin other words, a
whole range of mistakes, omissions, and willfully wrong acts. A santera friend,
on a different occasion, and completely independently of Emilio, made much
the same complaints about young babalawos, but she went so far as to angrily
call skipping over initiation to go directly to If a violation.1
Gossip is one important discourse that reinforces the Regla. While santeros
might bicker over the details and applications, they all agree on basic tenets
such as respect for ones elders and for the religion. Disagreements over inter-
pretation and accusations of violations fuel the gossip mill and circulate the
basic tenetsthe exceptions reinforce the Rule. Occasionally, a consensus will
emerge condemning someone for some infraction, but more commonly, rivals
or rival lineages cast aspersions on one another behind each others backs.
Santeros thus use gossip in ways that both further their own individual
interests (compare Paine 1967) and that serve as an informal mechanism for
maintaining social cohesion and normative values (compare Gluckman 1963).2
This seeming contradiction is possible because gossip is highly context-sensi-
tive, taking different forms in different settings, and because, as Brenneis (1984)
demonstrates, gossip may affect different relationships in different ways, so
that the gossiper reinforces his solidarity with his audience while advancing
competitive status claims against those he gossips about.
According to the trail of gossip among santeros about ritual violations, the
orichas have their own, more direct ways of policing compliance. As Emilios
narrative of conversion in chapter 4 illustrated, the orichas punish in the same
way they confer blessings: by intervening directly in ones life. By his own ac-
count, Emilios problems with recurring robberies stemmed from his delay in
accepting his orichas call to initiate. On many occasions, Emilio shared with
me dozens of juicy tidbits of gossip, some of it years old, about santeras who
refused to obey food restrictions imposed by their orichas and then choked to
death on the very forbidden food they consumed; about santeros who killed,
with or without magical help, and who ended up jailed for life, despite their en-
treaties to their saints to rescue them. Such narratives, and the critical, watch-
ful attention to detail they promote among santeros, are strong mechanisms to
remind people why they should adhere to the Regla. And yet, for all the talk,
santeros can be remarkably footloose in cutting corners or advancing obvious
personal agendas through religion. Usually these shortcuts and other strategic
acts work out, but the ideology transmitted through gossip says that such be-
havior always courts catastrophe in the form of divine sanctions.
However powerful the admonitions to conform to the Regla, however pop-
ular the morality tales of gossip, practitioners nonetheless do all manner of
things in the name of the religion. They seek shortcuts, they compete for pres-
tige, and they work for personal advancement, all individually oriented aims
that sometimes conflict with the shared vision encoded in the Regla. This is not
to say that the Regla promotes a selfless, otherworldly ethic. Santera is far too
pragmatic for that. Rather, the Regla overtly promotes values of cooperation
and mutual assistance among practitioners and between people and orichas
at the same time that it promotes obedience and respect for its hierarchy of
authority. But practitioners make room within these strictures to pursue their
own agendas. I now consider how the tensions between collective aims and
individual strategies play out within rituals.
Conflicting interpretations of a possession trance

Flecha entre hermanos.
(An arrow between brothers.)
For a good example of the tension between collective and individual interpre-
tations of ritual, consider the chapter 5 analysis of the interactions between the
singer and the santero possessed by Yemay during a tambor ceremony. The
singer and the descended saint, Yemay, traded insults through ritual songs,
until Yemay bested the singer and put him back in his place by enacting the
familiar trope of the saint giving pointed advice to the wayward devotee. The
players conformed to the collective aims and roles of the tamborits script, if
you willwhile pursuing their individual strategies to best each other.
My examination of two santeros later reactions to the video recording of the
tambor illustrated a parallel tension between shared meanings and individual
interpretations. To the extent that the ritual participants adhered to their ritual
roles, the tambor invoked shared meanings about what is accomplished in ritu-
als of its type. For example, formally speaking, the tambor succeeded in luring
an oricha, Yemay, to make an appearance to show her satisfaction with the
proceedings. At the same time, individual interpretations of the tambor dif-
fered: the two watching santeros had their doubts about whether the Yemay
performance they saw constituted the real thing. When they assigned blame,
they did so by comparing the particular event to an ideal type, point by point.
What songs were sung? Who opened the possessed persons eyes? How did the
Yemay speak? Discrepancies between type and exemplar suggested where to
place blame. For example, one santero faulted the singer for using improper
songs that did not belong to the canon of Lucum songs. He also pointed out
that the Yemay opened his eyes without anyone touching them. The other
santero found Yemays admonishment of the singer compelling and appropri-
ate to a saint. Their ideas about a proper tambor ceremony drew upon their
experiences at other tambores and knowledge gained from circulating meta-
discourses about tambores in general and in particular.
The tambor example demonstrates that ritual structures are persuasive but
not deterministic. They encourage participants to conform to expectations in
how they act and react. But at the same time, there is ample room for multiple
interpretations, although interpretations differing from full acceptance of the
proceedings may only be shared privately and after the fact. The example also
illustrates how canonical forms of ritual may simultaneously serve both col-
lective and individual purposes. In the competition between the singer and the
Yemay, both used songs appropriate to the ritual occasion. At the same time,
the singer chose songs within the canon that allowed him to wring as many
gifts out of the descended saint as he could. The Yemay invoked first the form
of ritual songs, then the form of giving divine advice, to bring the audience into
the pullas, insults, with which she goaded the singer.
These examples raise questions about how rituals, as events that both im-
pose collective ideals and advance individual interest, generate a common
sacred stance. In what ways do rituals exacerbate or resolve the tensions be-
tween collective aims and individual strategies? Between shared meanings and
individual interpretations? How do these crosscutting purposes nonetheless
promote the circulation of a cohesive sacred stance?
Two conflicting tendencies: Respecting the Regla versus

advancing within the religion
l que sabe no muere como l que no sabe.
(He who knows does not die like he who does not know.)
Santeros explain this somewhat cryptic proverb to mean that the orichas hold
initiated santeros to a higher moral standard than other people, because they
are supposed to know better. In evaluative discourses about religious ethics,
santeros frequently refer to doing what is correct, obeying the Law, and
respecting the religion. The most frequent critique they level against each
other is failure to do these things. Although santeros overt emphasis on acting
correctly suggests that respect and obedience are prized markers of religios-
ity, it also suggests that on many occasions santeros are not acting correctly,
whether because of intent, neglect, ignorance, or other priorities (such as cost
cutting or saving time). In other words, it is a matter of communal concern
that practitioners pursue individual agendas at the expense of shared ritual
aims and procedures.
Nonetheless, there are ways in which the individual agendas that cause
santeros so much concern actually advance collective aims and shared mean-
ings. First of all, they provoke discourses of critique and concern, which serve
to circulate shared meanings and even create a religious community through
discourse networks of shared stories and commentary. Such discourses may

serve a normative function, alerting participants to the criteria for correct
ritual procedure. Second of all, individual agendas themselves derive from
participants sense of what is ritually possible, and this sense of the possible
derives from and reinforces a common religious episteme. For example, ritual
participants work to establish divine communication because they hope the
saints will tell them how to improve their lives and advance themselves. They
may wish to advance spiritually, as well as materially, but the major marker
of spiritual advancement remains moving up the ritual hierarchy, which is as
political as it is spiritual. As another example, santeros often actively recruit
godchildren, because a larger ritual lineage of godchildren increases the god-
parents standing. If any of the godchildren are foreigners, paying hundreds
or even thousands of dollars for rituals, the godparent may materially benefit
as well. Again, a religious necessitybuilding ritual lineages through initia-
tionopens space for individuals to strategically pursue their own aims. As
individual santeros recruit new godchildren to their fold, and as some of these
godchildren initiate and move fully into the ritual hierarchy, the entire reli-
gious community expands.
The consultation: How individual agendas get advanced

in a divination ritual
Es la cabeza que lleva al cuerpo.
(It is the head that carries the body.)
As an example of how such individual aims can be advanced legitimately

through ritual, and how they interact with communal religious aims, I will
examine segments of a consultation. I begin with a normative account of a
consultations structure and purpose in order to lay out the communal reli-
gious aims it expresses. The ritualized forms repeated in all divinations create
a substrate of shared meanings out of which each divination is improvised.
In order to read the oracle and deliver its message, the diviner must apply a
standardized set of divination signs and interpretations to each clients particu-
lar situation. Reciting time-honored ritual forms gives authority to the divina-
tion proceedings, but divinations must also be highly contextualized and con-
textualizing, giving particular aspects or events of the clients life heightened
salience by linking them to the occult or the divine as embodied in the highly
entextualized signs of the oracle. After all, the point of a divination is to allow
the orichas to speak and give advice on ones earthly problems. To see how this
miracle of divine communication occurs, and how, in the slippage between tra-
ditional ritual forms and personalized message, individual agendas can creep
in, I do a close reading of a consultation I received.
Background on divination
In Santera there are three divination systems that can be used for a consulta-
tion: the most basic coconut shell divination, which offers simple yes-no an-
swers; the more common cowrie shell divination, which uses sixteen cowries
to permit more complex and subtle answers; and the most complex If system
of divination, which is the special purview of babalawos. All three systems
of divination elaborate, to differing degrees, on the same basic participation
framework: the santero mediates between the client and the sacred plane by
conveying the clients questions and concerns to the oracle, by using the oracle
to produce divine responses and, finally, by interpreting those responses for
the client.
Most noninitiates who come into contact with Santera do so by attending
tambores or seeking out consultations. A tambor, by virtue of its public nature
and festive atmosphere, attracts the attention of neighbors and passersby, some
of whom may come in for a look around or a chance to enjoy the party. Consul-
tations, on the other hand, are private encounters between a santero and a cli-
ent. A person may seek out a consultation for any number of reasons, but most
typically, the person is in some sort of physical, economic, or spiritual distress
or is otherwise facing an intractable problem for which they want a solution or
cure. Whether or not they have much faith in the results, all clients, even first-
timers, enter into a consultation with expectations. Clients expectations may
be shaped by experiences with other types of consultations or by circulating
ideas about religious consultations in general.
Indeed, the three divination systems of Santera are but a few of the possibil-
ities for religious consultations, since Spiritist mediums, Paleros (practitioners
of Palo), and others also practice various types of divination and mediumship.
In this context of multiple offerings, some clients will visit a santero for a con-
sultation simply by word of mouth, because they are desperate for relief and
somewhere they heard that this person does good consultations. As Kirsch
(2004) argues for a different setting of religious pluralism, peoples beliefs
their faith in what is possibleare flexible, tied to ritual action, and change-
able based on post hoc evaluations of a rituals effectiveness. Once drawn into
Santera, even before initiating, the newcomer will experience ever-growing
pressure to stop shopping around and instead be loyal to one particular santero
chosen as a godparent. Various ceremonies, culminating in initiation, cement

the bond between neophyte and godparent. Indeed, initiation sanctifies the
godparent-godchild bond as the cornerstone of ritual kinship and hierarchy
and the organizing principle of religious community.
Opposing the pressure toward obedience and fealty is a tendency in Santera
toward skepticism. We have already seen how skeptical and critical santeros
can be of one anothers ritual performances. A different manifestation of re-
ligious skepticism is shopping around to get different kinds of consultations
from different religious practitioners, in search of comprobacin (proof). Un-
initiated religious practitioners who have already chosen a godparent must
balance their search for comprobacin with their loyalty in order to maintain
propriety. Given the intense competition among santeros and with other reli-
gious practitioners, godparents worry that their wandering godchildren may
receive bad, or even malicious, advice or may be stolen from them. In the fol-
lowing section I describe and analyze part of a consultation I received from
a santero I met at a tambor. I examine how his interpretation of divination
results plays into the competitive dynamic through which santeros critique one
others practice and steal one anothers godchildren.
My consultation with Alberto

As sometimes happened when I met with a new acquaintance, I arrived at
Albertos house for what I thought was to be an informal interview, only to
discover that he thought I had wanted a consultation. As I entered his house, a
few family members and a goddaughter were sitting downstairs and asked me
to wait with them. When Alberto called for me to come upstairs, he and his
wife, Maura, were seated at a table that was obviously prepared for divination.
Seizing the moment, I asked whether I could record the consultation, and he
agreed with delight. Below, I excerpt the section of our consultation in which
he divined my sign and interpreted the results to me. I aim to show how the
step between reading the divination sign and interpreting its meaning for the
client allows santeros to pursue their own and their clients individual agendas
in ways apparently given divine sanction by the formal aspects of the ritual that
reinforce its character as divine communication.
After initial prayers and invocations, Alberto gently cast the sixteen cowries
onto the table, where he, Maura, and I leaned over them to count how many
had landed with their face side up. After silently counting six cowrie shells
face up, Alberto declared, Obbara, which is the sign for six. Maura momen-
tarily disagreed, having counted only five face-up cowries, which would be the
sign Oche. But a quick recount settled that there were six. Alberto then said
Obbara ibate matate, scooped up the cowries, and shook them again, begin-
ning anew the call-and-response sequence in Lucum, with Maura responding,
that had preceded his previous throw.
1 Alberto: Padre Eleggua (2 seconds) Eleggua id mepw
2 Maura: Aku ell3
3 A: Eleggua id mepw
4 M: Aku ell
5 A: Aku elle omo, aku barik . babagua. Ochareo!
6 M: Agach
7 A: Ochareo
8 M: Agach
The only words above recognizable to someone outside of Santera would be
in line 1, Padre Eleggua or Father Eleggua, which mark this sequence as a plea
directed to the oricha Eleggua, who mediates all communications between the
human and the divine. This time, they counted eight cowries face up, and Al-
berto declared the sign to be Unle, Obbara Unle.4 Maura wrote the complete
numerical sign 68 in a notebook, just below where she had already written
my name. Then Alberto began the process of elaborating additional informa-
tion about this sign.
The process of constructing a divination result in Santera is, as we already
begin to see, very mechanical: shells are cast and counted; a result is tabulated.
The steps of elaboration, while more complex, also contribute to the overall
sense that divinations produce clear, verifiable results. In cowrie divination,
this elaboration is done by giving the client two of five objects to hold hidden
in their hands before each additional throw of the cowries. Then, the result of
each throw or pair of throws determines which hand the santero will call for,
right or left.5 The client then opens that hand, revealing one of the two objects.
Each of the objects signifies something about who is talking and what sort
of luck the client has. The five objects, called ibo in Lucum, include a piece of
chalky ground eggshell paste (called cascarilla), a dark pebble, a large round
snail shell, a guacalote seed pod, and a piece of bone or a porcelain dolls head.
When the client holds the cascarilla and the pebble, the oracle will determine
whether the sign comes with ir or osogbo, good or bad fortune. The choice be-
tween the bone and the pebble determines whether it is the spirits of the dead
or the orichas who are talking to the client. When a yes or no question is posed,
the snail shell means yes and the pebble means no. The system gets more
esoteric from there, with many degrees and types of good or bad fortune and
many possible consequences of receiving a message from a particular source,
whether spirit or saint.
Santeros must memorize a great deal of information in order to properly do
a cowrie divination. Santeros learn from working with their more experienced
godparents and, if they have access and inclination, from private or published
notebooks on divination. There are 16 cowries and so 256 possible signs, most
of which can bring ir or osogbo and each of which can signify that the saints
or the dead are speaking. Already, there are almost a thousand basic possibili-
ties, each of which then gets further refined.6
Ideally, and in santeros descriptions of how cowrie divination works, the
system is completely self-evident and the meanings of choices are predeter-
mined. Anyone knowledgeable who watched could verify the results simply
by recounting the shells. For that matter, the act of writing the results in a
notebook reinforces this notion of verifiability, of being able to reconstruct
how a santero arrived at a particular sign and elaborated it. Each initial sign
(68 in my case) cues an entire corpus of associations, from the list of orichas
who speak through that sign, to proverbs, legends and parables involving the
orichas and other beings, required sacrifices, and so on. After the initial sign,
additional signs demand the left hand; others demand the right hand.
In my divination, Alberto cast the cowries seven more times, getting four
results: first 4, then the pairs 76, 117, and 56. For each of these four results,
he called for me to reveal the object I held in one or the other hand. The
first cast decided whether my sign, 68, brought ir, blessings, or osogbo,
ill fortune. The result was four cowries face up: Iroso. Iroso is one of the
senior signs that does not require a second throw. Alberto called for my
left hand, in which I held the white, chalky cascarilla. Ir, he declared, then
handed me two objects again and prepared the cowries for the second throw,
calling for arik, which is the strongest type of ir. The next cast was seven
cowries face up, or Odd, which as a junior sign required a second throw.
Next was six, Obara, forming the pair Odd Obara, which required the object
in my left hand again. Arik, declared Alberto. As he repeated arik with
Odd Obara, Maura wrote down the new signs and results. Two more cycles
of this process produced the additional pairs 117, or Ojuani Odd, then 56,
or Och Obara. The objects in first my right, then my left hand produced the
full result: my sign was Obara Unle, with Ir arik yale, meaning 68, with
blessings from the dead of the strongest kind. Maura wrote in her book ap-
proximately the following:
Kristina Wirtz
68
Obara Unle
4, 76, 117, 56
con Ir arik yale
This written representation encodes what the oracle said in its purest form,
prior to any interpretation. I have presented the almost mechanical process by
which this letter emerged, throw by throw and result by result, in order to
illustrate how ritual forms surround and create this magical step of divination
in which the orichas speak. Kuipers (1993) suggests that more formalized
registers of ritual speech allow speakers to displace responsibility from them-
selves onto a distant past, so that the words carry the authority of tradition.
Highly extextualized speech does this, he suggests elsewhere, because it exactly
replicates and therefore iconizes previous speech, thus literally resembling the
speech of the ancestors (Kuipers 1990). Du Bois (1992) argues that the highly
entextualized signs and messages from oracles are a special case of displace-
ment of responsibility, such that there may seem to be no author, which he
describes as meaning without intention. In Santeras divinations, authorship
sometimes seems to reside with a generic santo and sometimes with specific
orichas who speak through the shells, as in this case. Santeros are being quite
literal when they characterize divinations as divine communications. The
cowries are the mouth of the saint, they say. Of course, what first emerges
is cryptic to the point of being unintelligible to the client. What do all these
numbers and Lucum words mean? What are the orichas saying? In answer,
the santero must now interpret the cryptic letter as advice that speaks to the
clients situation. In Parkins more poetic turn of phrase (1991: 175, 183), the
diviner straightens the paths from wilderness by moving from the esoteric
manipulations of the shells toward greater and greater articulateness and intel-
ligibility (also see Peek 1991: 134).
Alberto marked the start of his interpretation of my results by saying: Ok,
lets talk. After a few seconds pause, he first asked whether I had received pre-
vious divinations. Yes, I had. Obbara Unle, he said, is where Eleggua comes
speaking through Obbara Unle. As he continued, he switched between refer-
ring to me with the polite Usted (Ud.) and the informal t, both translating as
you. He went on:
9 Where Eleggua says, Ir, arik, moyale.
10 Eleggua says that (he) brings ir with Iroso, and
11 arik he brings with Odd Obara, and moyare

12 Ojuani Odd. Eleggua says that you (Ud.) were
13 born to be the head. That you (Ud.) were born to
14 be an intellectual, an intelligent person, a
15 person capable of deepening whatever knowledge,
16 or desires for knowledge, isnt it true? Your
17 (t) own interest, isnt it, in how to arrive at
18 the thing so that afterward you (Ud.) will know all the
steps that
19 you (Ud.) want to make, now it wont have any doubt,
20 true? Because once learned, and once you (Ud.)
21 have a set path, so that that future day that you
22 (Ud.) accept the saint, already you (t) will
23 know all the manipulations, not the secret, but
24 you (Ud.) will know already from which position to
25 defend yourself, for that future day.7
Alberto begins by repeating the Lucum results twice in lines 912. Both
times, he frames the Lucum words with Eleggua says. The divination results,
he means, come from Eleggua. The third time, too, he begins with Eleggua
says, but now he explains in Spanish the meaning of the signs. He tells me
that I am born to be the head, an expression usually referring to leadership
or religious privilege. Alberto expands upon it to say that I am a thinker, some-
one inquisitive and intellectual. As he continues, his characterization of me
begins to take on a religious significance: I am studying and preparing before
I initiate into Santera, so that I will know how to protect myself as soon as I
am initiated. The secret he refers to in line 23 is the initiation mystery, special
knowledge about something that happens during initiation that is known only
to initiates. In other words, Alberto is praising me for getting a head start in
learning about Santera before initiating, while reminding me that there are
limits to what I can learn until I initiate. In his interpretation of my divination
sign, he has already assigned me very pragmatic motives for wanting a divi-
nation: to learn more about the religion so that I can advance quickly once I
initiate.
Maura then suggests a proverb that she and Alberto then repeat: La ca-
beza es la que lleva el cuerpo, meaning it is the head that carries the body.
Such proverbs accompany each of the divination results. Some santeros record
proverbs in Lucum in their private religious notebooks, together with their
translations, but the proverbs are now most often given in Spanish, and indeed,
many are not unique to santeros or divination contexts. Albertos initial state-
ment that you were born to be the head has some of the punchy, aphoristic
flavor of a proverb. Mauras interjected it is the head that carries the body is
even more proverbial, in being indirect and metaphorical and cleverly relying
upon natural order (or an inversion of it) to make its point. Both point to the
spiritual importance of the head in Santera, which is where a persons princi-
pal oricha is seated during initiation and which controls a persons destiny.
Proverbs carry the weight of tradition in much the way Lucum divination
signs do: both are formulaic and conventional, and both hearken back across
time to ancient, collective wisdom. Just as the system of Lucum divination
signs is authoritative in part because it channels the speech of the orichas,
proverbs channel the speech of our ancestors, who were presumably wiser and
pithier with words than we are. Some of the authority and wisdom that inheres
in these word forms presumably carries over to each successive speaker who
animates the ancestrally authored words. Not surprisingly, particular proverbs
accompany particular divination signs and are often recited as a first pass at
interpreting the sign for the clients situation. The fluidity of proverbs mean-
ings is evident in Albertos adaptation of born to be the head to refer to my
research rather than to leadership or privilege. Once uttered, the proverbs, like
the divination signs that cue them, are superabundant in meaning and there-
fore ambiguous, requiring further interpretation to render them applicable to
someones particular situation (Peek 1991: 134; Werbner 1973).
Alberto proceeds to interpret the proverb Maura offered, much as he had
interpreted the Lucum signs and initial you were born to be the head:
26 Here is where, here is where blessed Saint

27 Barbara, Chang place your head. For what? The
28 head is so that you (Ud.) may think, the head is so you
29 may analyze and observe. Or be very observant
30 within everything that has to do with you (t) within
31 spiritual and Santera matters, which faith is
32 the one that can [give] you (t) (1 second) ah ..
33 ir (blessings). I am referring, for example, you (t) have
34 your elders, you (t) have your godparents, right?
35 And up to now, have they done anything for you so
36 that you (t) have gotten results?8
Alberto begins his interpretation of the proverb it is the head that carries
the body much as he did his initial interpretation of my sign: he invokes the
saint who is speaking. Just as he introduced the interpretation of my sign by

directly quoting Eleggua: Eleggua says . . . (line 12), here in lines 2627 he
indirectly attributes his words to Santa Barbara and Chang. In other words,
Saint Barbara and Chang are the ones giving me my potential to think my
way through a situation. His advice succinctly captures Santeras pragmatic
philosophy that the gods help those who help themselves. Seldom do the saints
directly heal or solve anything during a divination. Rather, they mostly dis-
pense advice and suggestions upon which the client must act in order to solve
the problem.
Saint Barbara is the Catholic saint who corresponds to the oricha Chang.
Santeros often use the names interchangeably. Here, Alberto uses them in the
plural, then distinguishes between the two religious perspectives they imply
in line 31, calling one spiritual matters and the other Santera matters.
He thereby suggests that I may need to consider both religious practices,
Spiritism and Santera, to find what I need, although by using the Lucum
word ir to stand for what I seek (line 33), he suggests a tacit preference
for Santera. His invocation of Saint Barbara/Chang is likely motivated by
my divination sign, which is Obbara, the letter associated with Chang. An-
other factor may be that Alberto is a son of Chang. In any case, he quickly
gets to the point by asking whether my godparents have gotten results for
me in lines 3436. By asking the question in this way, the diviner introduces
doubts, implying that the divination results suggest that my godparents have
not been looking out for me. Upon reflection, it is difficult to see what in my
very positive divination sign motivates Albertos apparent concern. It is more
likely that he is injecting his own agendagaining a foreign godchildinto
the proceedings.
Most of the rest of our consultation revolves around Alberto and Mauras
repeated attempts to discredit Emilio (and my uncomfortable attempts to shift
topic), not because they personally know him, but because some combina-
tion of the divination results and my presence there suggested that I might be
amenable to switching my loyalties to them. Their interpretation of the divi-
nation results has moved from the weighty generalities signaled by Lucum
divination signs and proverbs to the particulars of my situation, in which the
divination results speak to both my and their interests.
They proceed from their question about whether my godparents have given
me tangible results to the repeated suggestion that I need to initiate. They flat-
ter me repeatedly. At one point, Alberto praises me for seeking a consultation
by pointing out that there are very few people who go along verifying, a ref-
erence to the skeptical stance that motivates some religious clients to seek out
what we might call second opinion consultations in search of proof that
their results are correct. He goes on to say that seeking verification links to
where Eleggua says Oddi Obbara, where there is speech, Odd is the mother,
Odd is travel, Obbara is advancement, prosperity, and in Ojuani Odd . . .
Ojuani is prendicin. While his point is not entirely coherent, Alberto does
list a range of rich, attractive associations of my divination signs. The final one,
prendicin, is a Spanish word that santeros use to mean that an oricha is
claiming someone who will need to be initiated. They go on to more explicitly
link my initiation with my future prosperity. Maura says:
37 The motive, why? Yes you (t) have to make a step,
38 but why? That this step will bring you life, it
39 will bring you prosperity, no? But here Eleggua
40 says that you (Ud.) were born to be king, you
41 were born to seek money, you were born to seek
42 advancement and more than advancement.9
A moment later, Alberto expands upon how being a santera might directly
improve my economic possibilities:
43 A: But Chang says that by your own hand, with
44 your initiation, you (Ud.) can resolve many
45 things in life.
46 Maura: And you have knowledge
47 A: And you have knowledge, why? Because you (t)
48 are able to bring people from there to here and
49 you can increase your investment of money. It is
50 not that you (t) are going to go into business, its
51 that Chang is going to put this development in
52 your hands.10
Here, Alberto and Maura stay within the form of a consultation even as
they push their individual agenda and encourage me to pursue mine through
religious initiation. They evoke an entire scenario in which I will make money
by banking my religious knowledge to arrange tours from my home country
to Cuba. Making the saint will bring me opportunities to prosper, not because
I will cross that gray line into commercializing the religion, but because the
saints say I should prosper. Alberto and Maura frame each piece of advice
they give to quote an oricha: Eleggua says; Chang says. Religious adherence
brings rewards, and so if the saints want me to initiate, they will improve my
life tangibly once I do.
Individual agendas advanced through ritual

Was this encounter exceptional? I do not believe so. The orichas do in fact
work on behalf of their devotees to help them achieve exactly these sorts of
material improvements in their lives. Alberto and Maura may have been par-
ticularly unsubtle, but their own motives and those they attributed to me are
widely recognized and frequently expressed dynamics of religious participa-
tion in Santera. First of all, as a foreigner interested in the religion, I fit into an
established category of desirable godchildren. Seldom did I meet a santero who
did not boast of at least one foreign godchild. Second of all, on a half dozen
other occasions I received or witnessed consultations in which secular aims
were similarly prominent. At the same time, I observed other consultations
with Cuban clients in which the santero focused on upbraiding the client for
being too interested (in personal advancement) and for showing insufficient
respect for the religion. Cuban practitioners and clients nonetheless would
openly explain to me that they sought material advancement through religious
advancement. They claimed to desire only modest improvements in their eco-
nomic situations, often saying that they didnt want to become a millionaire,
just be more financially secure, healthier, and happier than now. It was reason-
able for Alberto and Maura to expect that I, too, sought economic betterment
through the religion.
As to Alberto and Mauras strategies to encourage me to become a regular
customer, or perhaps even a godchild, a fair number of santeros make their
living exclusively by offering consultations and participating in ceremonies,
and most santeros regard such complete dedication to religious vocation as
necessary if one wishes to advance in the religion. A santero masters the
ritual knowledge by doing, santeros explain. And if one exclusively lives by
religion, one must earn a living by religion. At the same time, many of the
same santeros who seemed determined to push an agenda during a consulta-
tion would decry the commercialization of the religion in interviews or casual
conversation. There is a fine, if ever-shifting, balance between adhering to
the dictates of the Regla and using the religion as it is intended, to improve
ones life. Rituals such as the consultation I described are an important site
for articulating individual desires with shared religious ideals. But what is it
about the ritual performance that allows individual and collective interests to
simultaneously be advanced?
The distinctive feature of rituals is their adherence to densely patterned,

often overdetermined forms of speech, action, and other sensory stimuli. A
consultation, for example, places santero and client in a distinctive participant
structure in which the santero mediates between the client and an intangible
third voice, that of the saints. Even the small excerpts above re-create the flow
of a consultation: first, the santero speaks to the saints; next the cowries clink
as they land on the table or mat; then the santero represents their pattern as
an unfamiliar word, like Obbara, and a numeral, like 6, and both are written
down. The attentive client might thus learn that Obbara is equated with the six
face-up cowries. Only when he has finished throwing the cowries several times
does the santero begin to report what the saint says and offer his interpreta-
tion.
Note that the santero marks each step of the communicative process with
distinctive language. In particular, code changes and markers of quoted speech
differentiate the santeros voice from the voice of the saints. The tacit but widely
accepted understanding of these code changes is that the santero translates
between human language and divine speech, but the saints author the message.
The santeros authority lies in his mastery of the process: he knows the Lucum
necessary to mediate the encounter. At the same time, the santero is positioned
to ride the line of authorship and responsibility, moving between translating
words authored by the saints and claiming the right of interpretation. Figure
6.1 illustrates this model.
My analysis of Albertos consultation has thus far illustrated the second half
of the communication process, labeled divine responses in figure 6.1. I traced
out how the santero converted cowrie shell patterns into Lucum labels, then
interpreted them into advice, proverbs, and even commands in Spanishall
attributed to the saints. In doing so, he injected his own desires and what he
Client Santero Saint

Human questions: Spanish Lucum
Questions, pleas accompanied by Lucum invocations
Saint Santero Client

Divine responses: Lucum Spanish
Divination signs Proverbs, advice, commands framed
as quoted speech
Figure 6.1. Diagram of human questions and divine responses.
understood to be mine into his interpretation. And yet, the consultation ad-
hered to proper ritual protocols; Alberto even framed some of his interpreta-
tions as quoted speech of the orichas: Eleggua says; Chang says. We begin to
see, then, how ritual formsin particular the necessary gradations of author-
ship between divination signs and diviners interpretationpermit santeros
to work between shared and individual meanings and thus to ritually advance
individual agendas by adapting conventional signs to particular situations. In
addition, the religious collective is called into service for individual strategies
in the as-yet-unexamined first half of the communication process diagrammed
in figure 6.1.
Invoking the collective to aid the individual

Si agua no llueve maz no crece.
(If rain doesnt fall, corn wont grow.)
Santeros often explain this proverb to mean that one must attend to the ori-
chas in order to reap the benefits of their help. Rituals that offer up the proper
prayers, songs, and offerings are the rain that allows ones corn to grow. If one
wants the orichas to speak truly in a divination, one must ritually prepare by
invoking the entire human and divine communitys support. Having seen the
outcome of a consultation, let us now examine the setup, in which the santero
opens communications with the divine through Lucum invocations. Earli-
er, I presented one short example of the way a santero requests the oracle to
speakhow he converts the human questions, pleas link of figure 6.1 into
Lucum that will invoke the saints help. Recall that before the second throw of
the cowries, Alberto began a sequence of Lucum speech with an invocation
to Padre Eleggua (lines 18). I will now examine an excerpt from the very
first part of my consultation with Alberto and Maura in order to show how
formulaic uses of Lucum frame a divination by differentiating divine and hu-
man voices and by assigning authorship to the divine voices. In doing so, the
possibility of divine voices authorizing human agendas is set up.
Indeed, a good deal of ritual preparation precedes the moment in which
the santero offers the client advice. From an outside perspective, we would
say that the preparations create the triadic participant structure and inject
into it divine authority and presence. As Briggs (1994) argues in his Fou-
cauldian analysis of a shamanic cure, we must focus on relations of power
rather than relations of meaning to understand what is happening in these
preparatory ritual steps. From an emic perspective, santeros would explain
that they are opening communications with the divine. Doing so imbues the
advice offered in a consultation with divine authority, authority it would not
otherwise have.
As I already pointed out, Alberto and Maura were delighted to let me record
my consultation with them. I was surprised at how readily they agreed, because
santeros usually frown upon recording such rituals. When we had finished I
understood why: Alberto and Maura wanted to hear the entire recording. We
went downstairs to play it on the stereo, and others in the house also listened
in. Alberto and Maura most wanted to hear the opening incantatory prayers,
which we listened to twice. On other occasions, too, even when they had been
initially reluctant to allow me to record a ritual, I found that santeros and ba-
balawos wanted very much to listen to how they had prayed their opening
prayers and songs. They seemed to take a special aesthetic pleasure in a good
performance. Their special interest in these prayers alerted me to the prayers
importance.
As I mentioned in chapter 2, santeros call these opening incantations the
moyub or moyubacin. The word itself comes from one of the sections of the
incantations, so the label is metonymic. When asked what the word moyub
means, most santeros come close to its derivational meaning from Yoruba: I
pay homage.11 The moyub must open any ritual activity in Santera, because
it invokes the web of spirits, ancestors, and ritual kin whose cooperation is
necessary to open a communication channel to the orichas. For this reason,
although the moyub follows a particular and relatively set form, each santero
must personalize it to include his particular ancestors and ritual kin, as well
as those of any other santero present. The moyub recitation is a magical act,
because the utterance of a moyub is sufficient to create the state of affairs it
invokes: after saying the moyub, santeros can safely assume that they in fact
have the cooperation of all those invoked.
The converse case proves the rule: if a santero forgets to moyubar, or leaves
someone out, the ritual will not proceed properly. I saw this happen in one of
the first ceremonies I attended in Cuba. The gathered santeros were already well
into preparations for a purification of someones head. Before calling the client
in, they did the mandatory divination with coconut shells to make sure that the
saints were pleased and would bless the proceedings. The coconut shell came
up with Okana Sodde, three of four shells landing face down. The sign means
No and forecasts misfortune. The santeros were taken aback and sat for a mo-
ment conferring about what could have caused this bad sign to emerge. Finally,
they asked whether there was something that had not been done. The coconut
shells now landed two up and two down, a firm Yes. Again, they conferred,
reviewing each step they had completed, until one of them remembered that
when he said the moyub, he had not included the deceased kin of his client.
They asked the coconut shells whether this was the problem, and the answer
came back, Yes. The santeros laughed with relief, finished up the divination,
then the lead santero repeated the moyub, calling through the curtain sepa-
rating them from the client for the client to recite the names of the deceased in
her family at each pause in the recitation.
Although this story demonstrates the importance santeros place on the
moyub, its ubiquitous performance does not in itself draw attention. Perhaps
because it must be said so many times, even repeated during the course of a
single ritual, santeros usually recite it very rapidly and quietly, often practically
under their breath. On the occasions I was permitted to record, my tape re-
corder often had difficulty picking up the moyub, especially in a noisy room.
Nonetheless, it is crucially important. With the moyub, the santero invokes
the entire community of santeros, spirits, and orichas to cooperate with his
ritual and thus to support his intentions.
While its performance may not have the allure of more dramatic genres
such as songs and possession trance speech, the moyub does get a lot of at-
tention when santeros discuss their religious practices. When I interviewed
older santeros about ritual speech, they were sometimes resistant about giving
me examples, fearing that I intended to steal ritual secrets. I began to follow
the lead of my santero-researcher companions in suggesting the moyub as an
example. Most santeros were happy to discuss the importance of the moyub
and some even recited theirs for me. As with most longer Lucum texts, they
could give me the gist of what they were saying but not an exact translation of
specific phrases. These uncertainties are reflected in my own attempts at trans-
lation, below.
Albertos moyub is typical of the hundreds I heard and the ten or so I
recorded. He begins by invoking Father Eleggua with omi tuto or cool wa-
ter, because Eleggua is the oricha of divination. The omi tuto section wishes
coolness, tuto, on the proceedings, and as he speaks, Alberto sprinkles water
from a coconut shell cup.12 Santeros explain that Eleggua opens and closes
the way; he is the messenger who therefore determines whether the message
will get through to the other saints. Since divination is an exercise in opening
two-way communication with the deities, santeros must first ensure Elegguas
cooperation. The passage is addressed to Eleggua and much of it is in Lucum
(marked with underlining).
53 Padre Elegba . aqu tiene Ud Omi tuto, ana tuto, tuto laroy, tuto
ile, tuto la forol, tuto iy kofo.
Father Eleggua . here you have cool water, a cool path, tuto laroy,
cool house, tuto la forol, tuto iy kofo.
Having put down the coconut shell of water, Alberto continues, now intro-
ducing my presence and announcing his ritual intention to do a divination for
me. Before starting, Alberto had carefully written down and practiced saying
my hard-to-pronounce name, so that the orichas would be sure to recognize
who I was.
54 Elegba! Que se va a registrar Kristina . Wirtz . para salud, estabili-
dad, y su elemente, Elegba.
Eleggua! That we are going to register Kristina Wirtz . for health,
stability, and your element, Eleggua.
55 Para que todo sea ir ow, ir omo, Ir barik babagua, para que
Ud. la libre de ik, de ar, de ofo, de ia aray, atik, akokan, . tilla
tilla, elene onoy
So that all will be blessings of money, blessings of child, blessings
of barik babagua, so that you will free her of death, of sickness, of
suffering, of strife aray, atik, akokan, . argument, elene onoy
56 de todos los osogbo y toda las perturbaciones Elegba, que Ud la ponga
a ella en (vez/pues?) tu salvacin, para que todo sea .. mai god mai
god.
of all the ill fortunes and all the disturbances, Eleggua, that you give
her (instead) your salvation, so that all will be .. mai god mai god.
The English translations here capture one aspect of the original perfor-
mance: the interplay between intelligibility and unintelligibility. I translated
all Spanish phrases and all Lucum words that most santeros would be able
to recognize and translate, but left unanalyzed and unglossed those Lucum
words and phrases for which most santeros cannot give more than a vague,
general meaning. In choosing this santeros-eye perspective for my transla-
tions, I obscure how much less intelligible the invocation would be for many
clients. The client would follow the gist of the santeros words, because Spanish,
not Lucum, provides the syntactic framework, and there is a high proportion
of Spanish to Lucum words. Even the uninitiated client would gather, from
context, that Alberto is calling upon Eleggua to bless and protect them. Indeed,
some phrases seem Spiritist or Catholic, as in the line asking for your salva-
tion. Others, though full of unintelligible words, would have contextual mean-
ing. For example, one gleans from context that the series Ir ow, ir omo, Ir
barik babagua is desirable, whereas the following series, de ik, de ar, de
ofo, de ia aray, atik, akokan, . tilla tilla, elene onoy consists of bad things
to be avoided. Even with such guesswork, the uninitiated client listening to the
stream of invocatory prayer would find the Lucum sections as mysterious in
their unintelligibility as were the uninterpreted divination signs that later fol-
lowed. The santeros fluid recital demonstrates his authoritative knowledge, his
fluency in this liturgical language.
The santero, although he can fluidly recite the invocations, may himself
know some passages only by rote memorization. He would have the benefit
of knowing the meaning of key Lucum words, such as ir and osogbo,
blessings and ill fortune. Other words in the series of blessings and ills are
well known among santeros: ik is death and aro is illness. However, some
words and phrases would only be familiar to santeros from the moyub, since
they are not otherwise widely used. For example, many santeros are not sure
what tilla tilla represents exactly, but they guess it means something bad, such
as struggle, upheaval, or fighting.13
In the next section, Alberto once again calls upon Eleggua, but then pro-
ceeds to invoke the dead, whose cooperation is also necessary for any ritual to
succeed.
57 Padre Eleggua . Ibay,
Father Eleggua . Ibay
58 Ibay ibayen ton to esa ciencia oculta que est embelese Olodu-
mare
Rest in peace all those occult sciences which are at the foot of the
Creator
59 Ibay ibayen ton to iyalocha, omolocha
Rest in peace all santeras, santeros
60 Ibay ibayen ton to eggn que vive en este il14
Rest in peace all deceased who live in this house
61 Ibay ibayen ton to eggn que vive en esta ar
Rest in peace all deceased who live in this land
62 Ibay ibayen ton to eggn que vive fuera de esta ar
Rest in peace all deceased who live outside this land
63 Ibay ibayen ton to eggn que acompaa a Kristina . Wirtz
Rest in peace all deceased who accompany Kristina Wirtz
64 Ibay ibayen ton to eggn que acompaa a todo iguoro que coggua
il
Rest in peace all deceased who accompany all the santeros who live in
this house
65 Ibay ibayen ton to eggn que acompaa el Iye miye Balefn
Rest in peace all deceased who accompany the (proper name)
66 Ibay ibaye ton to eggn que acompaa . a Ochn igu
Rest in peace all deceased who accompany (proper name)
67 Ibay ibayen ton to eggn que acompaa a mi madrina
Rest in peace all deceased who accompany my godmother
68 Ibay ibayen ton to eggn que acompaa a mi padrino Melluk
Rest in peace all deceased who accompany my godfather (proper
name)
69 Ibay ibayen ton to esa ciencia oculta
Rest in peace all that occult science
Alberto continues with five more lines following the same formula of ibay
ibayen ton plus the names of the dead, then repeats line 69. Most santeros
gloss ibay ibayen ton as rest in peace.15 Many santeros would insert a
far greater number of proper names than did Alberto, who began with gen-
eral, blanket categories covering all the dead and only then proceeded to list
specific people. He uses Lucum names in saint for those who initiated as
santeros and regular Spanish names for uninitiated, deceased family members.
While santeros say that it is preferable to use Lucum names, in practice many
combine or substitute ordinary nicknames for the deceased santeros in their
lineage.
Albertos use of the Spiritism-derived occult science in line 69 requires
explanation. Spiritism provides a much more elaborate system for dealing with
the spirits of the dead than does Santera. Most santeros also participate in
Spiritist ceremonies, which combine Christian, scientific, and other influences
into a theology of mutual assistance between suffering humans and spirits
seeking transcendence. Most of the moyubs I heard during my research in-
cluded a line invoking the science or sciences to mean all the spirits of the
deceased who help the living.
In the sections presented thus far, Albertos moyub has invoked the support
of the spirits of the dead for his ritual. The preponderance of Lucum in even
the highly repetitive sections indexes the expertise of the santero and the dif-
ficulty of communicating with divine beings, who speak a different language.
Upon finishing the ibay section, Alberto continues with the kinkamach
section, which invokes the support of living santeros. The invocation kinka-
mach foregrounds yet another ubiquitous and universally used Lucum word
with an uncertain translation. Most santeros gloss it to mean health in the

sense of wishing someone good health.16 But this denotation is deceptively
simple, because the performative effect entailed by the kinkamach section is
to ensure the cooperation of all the santeros who are in ones lineage or present
during the ceremony.
70 Kinkamach el er de mi madrina Om O
Health to the head of my godmother (proper name)
71 Kinkamach . el de mi Ayugbn Nike Ogn
Health to that of my assisting godfather (proper name)
72 Kinkamach Om Nik, Kinkamach Ogn Niw, Kinkamach Omi-
ni Om yal, Kinkamach eh. Ochn Chol, Kinkamach Ocha Inle,
Kinkamach Obb Kot, Kinkamach . . . (seven more proper names
followed the sequence)
Health to (series of proper names)
73 Kinkamach to yalocha omolocha, to y tan hecho Eleggu.
Health to all the santeras children of the oricha, all and who have initi-
ated with Eleggua.
Alberto starts by invoking his godparents, following standard form. From
there he invokes living santeros in his ritual lineage by their names in the
saint. He closes with the obligatory catchall health to all santeros to protect
himself in case he has forgotten someone. With this, Alberto has called upon
the support of the entire religious community, including spirit and human
members. The very act of ritual invocation ensures the religious communitys
support. Alberto must now ritually invoke the orichas who enable the divina-
tion. At the same time, he introduces me as the beneficiary or client of the
divination. He thus sets up a communicative triad between client and oricha,
with himself as the mediator of communications, just as the entire religious
community, through the performative logic of the invocations, mediates be-
tween him and the oracle.
Having completed the initial moyub, Alberto prepares the divination.
First, he asks me to hold my payment for the divination over the cowries and
to pray silently for what I desire. Then I am to kiss my fist of money and place
the money onto the pile of cowries. Next, Alberto again calls on Eleggua, ad-
dressing him directly with formulaic pleas to banish ill fortune and permit only
good fortune for the client who has made the offering. Again, Elegguas divine
role as gatekeeper is invoked, because he has the power to open the door to
good and close the door on evil.
74 Eleggua, achiri ogu, achiri omo, achiri barik babagua, para que
todo sea kosik, kosi(agua)ofo, y kosiano.
Eleggua, achiri ogu, achiri omo, achiri barik babagua so that all
may be no death, no (agua)ofo, and no illness
(5 seconds)
(Alberto picks up rattle and shakes it throughout the following section)
75 Padre Eleggua (3 seconds), Eleggua (1 second) Aqu est su omo Ot
Lekn que va a registrar a Kristina Brit, Wirtz, Father Eleggua (3 sec-
onds) Eleggua (1 second) Here is your child (proper name) who is
going to register Kristina Wirtz
76 Paz, salud, estabilidad, firmeza Eleggu, para su salvacin a ella y to
sus seres queridos
Peace, health, stability, strength, Eleggua for her salvation for her and
all her loved ones
77 Para que la libre de ik, de ano, de ofo, de ia, . aro, tillatilla ti ter
osobbo, to los malos ok
So that you free her of death, of sickness, of suffering, of strife, illness,
argument, ti ter bad signs, all the bad things ok
78 Para que todo sea . ir ow, ir omo, ir bariku babagua, Eleggu.
So that all may be good fortune of money, good fortune of child, good
fortune of bariku our father, Eleggua.
The rattle Alberto shakes throughout this and the next section helps attract
the attention of the oricha. Alberto repeats the ibay ibayen ton section,
much as he did earlier, in lines 5869. Before repeating the kinkamach sec-
tion, he first inserts the following invocation:
79 La bendicin de to lo muerto que me acompaa
The blessing of all the deceased who accompany me
80 La bendicin de Chang mi pare,
The blessing of Chang my father
81 Dame la bendicin de mi mam, la bendicin de mi pap,
Give me the blessing of my mother, the blessing of my father,
82 La bendicin de mi madrina,
The blessing of my godmother
83 La bendicin de mi ayugbona Nike Ogn (words not clear)
The blessing of my assisting godparent, (proper name)
84 La bendicin de todos los que (me ayudan?) en santo
The blessing of all those who (help me?) in the saint
This section, almost entirely in Spanish, sometimes appears in santeros

moyubs but seems to be optional. A couple of santeros explained to me that
they use longer and shorter forms of the moyub depending upon how elabo-
rate an invocation a particular ritual seems to require. This section, like those
preceding and following, serves to marshal spiritual support.
In the structural logic of the ritual, Albertos moyubs opened the channel
of divine communication and introduced me as a participant. After the first
round of moyub, I was asked to pray directly on my own behalf, keeping the
communication channel open by accompanying my silent words with an of-
fering of money. In order to receive a response, I needed Alberto to mediate,
to orchestrate the divination. He in turn needed the cowries to mediate, to
serve, as santeros say, as the tongue of the orichas. And the cowries would
only speak truly if the entire chain of santeros, living and dead, and orichas,
particularly Eleggua, permitted them to. Figure 6.2 illustrates the chain of me-
diated communication.
I passed an offering of money up the chain to the santero by placing it on
the cowries. He accepted the money on behalf of the orichas and then prepared
the cowries to speak, in part by imploring Eleggua to convey the message
(and imploring the spirits and other santeros to cooperate). Doing this would
allow my silent prayers and his questions to the oracle to be transmitted to the
orichas and an answer to come back down the chain, via the cowries.
In the following section, Alberto replaces the rattle he has been holding with
the cowries. After some final prayers entirely in Lucum, he addresses Father
Eleggua, and he and Maura begin a call-and-response exchange almost identi-
cal to the one transcribed in lines 18. After Alberto says Ochareo and Maura
answers Agach twice, Alberto at last throws the cowries.
The sequence ochareo, agach (most santeros I recorded say adach) pre-
Eleggua The orichas

(opens and closes the way)
The ancestors
Oracle Deceased and living santeros
(cowries)
Santero
(Alberto)
Client
(Kristina)
Figure 6.2. Diagram of the chain of mediated communication in a divination.
cedes each throw of the cowries. Various santeros explained to me that the
call and response implores the cowries to speak truly and to bring blessings.
One translation offered that ochareo means the oricha will speak and that
adach or agach means may it be for ach (sacred power).17 The sequence
immediately precedes, and thus cues, each cast of the cowries. It expresses
and marshals the santeros (and clients) expectations in the moment before
the saint speaks. By so doing, the sequence serves as a tool of emplotment
(Mattingly 1998), with each Ochareo eliciting an answering Agach, so that the
entire sequence triggers the orichas speech through the falling cowries.
This entire, impressively mysterious recitation leads to the section described
earlier in the chapter where Alberto constructed my sign out of multiple
throws of the cowries and gave me advice. Throughout the long prayers, the
client sits expectantly, awaiting the very last step when the santero will begin
speaking Spanish and making sense of the divination results. The santero may
incorporate his knowledge (or guesses) about the clients situation into his in-
terpretation, but the very forms of the ritual indicate that his interpretation is
constrained by the divination results. The divination results, within the ritual
frame, are in turn voiced as the speech of the saints.
My analysis of the moyub demonstrates the central role Lucum ritual
speech has in structuring rituals and rendering them recognizable. In this
sense, canonical Lucum usage promotes the collective forms and meanings of
Santera. But the moyub genre, especially, promotes the collective in a more
direct, denotative way, as well. The moyub expressly invokes the santeros rit-
ual elders, his lineage, and the community of santeros in general. In this sense,
a santeros moyub creates and structures his religious community every time
he utters it. The shared norms for a moyub dictate that the santero must at a
minimum name his godparents, his deceased genealogical and ritual kin, and
his living ritual kin. If other santeros are present at the same ritual, the santero
who offers the moyub must include them and, sometimes, their ritual lineages
in his recitation. The moyub, thus, is a performed diagram of ritual kinship.
Ritual kinship generates a hierarchy that links the living, the dead, and the di-
vine. A santeros particular moyub invokes these links as they pertain to that
santero, as I diagram in figures 1.1 and 1.2.
In true Durkheimian fashion, the moyub acknowledges the community as
the heart of the religion. It would be simply unthinkable to engage in ritual ac-
tion without first invoking the consent of the community. In a sense, then, the
act of moyubacin acknowledges the communitys power to impose collective
ritual aims and forms and to judge its members competence and compliance
with those aims and forms. But still the moyub is an individual, sometimes
even private, act of performative magic. While phrased as invocation, its re-
sults are, in essence, guaranteed. To recite ones complete moyub is to receive
the spiritual communitys support for ones ritual act. This example of ritual
speech, as much as the earlier examples of divination and consultation, invokes
collective aims and forms to empower individuals to access the sacred for their
own various purposes.
Early in this chapter, I explored the range of individual purposes and
strategies in Albertos interpretation of my divination results. In contrast, the
moyub might seem too formulaic to allow much tinkering to adapt it to indi-
vidual strategy. But in fact, santeros alter their moyubs to fit context and even
embellish them to claim illustrious ritual ancestors. Two brief examples will
illustrate the potential for santeros to use their moyubaciones to make alliances
and advance their standing. First of all, a santero praying a moyub in front of
another santero of a different lineage might include his or her godparent or a
well-known ritual ancestor of that lineage. Doing so automatically, rather than
stopping to let the second santero fill in the blanks, suggests that the santero
regards the added people as his own ritual elders as well. If the two santeros
share ritual elders, then they are ritual kin themselves. Similarly, santeros may
include the names of deceased santeros who were particularly important in
establishing Santera in Santiago during the 1920s1940s. Emilio, for example,
often names Reynerio Prez and Rosa Torres in his moyub, even though he
comes from a completely separate lineage from either of them. Nonetheless, all
santeros in Santiago regard Reynerio especially as being the founder of Santera
in Santiago, the one who established its presence in the city. Reynerio and Rosa
both initiated dozens of godchildren and participated in the initiations of doz-
ens, if not hundreds, more. By naming them in his moyub, Emilio shows his
respect for them but also makes a bid to pull them into his lineup of ritual an-
cestors, those whose beneficence empowers his rituals to be efficacious.
Conclusion
Ik lob ocha. (Lucum)
El muerto pare al santo. (Spanish)
The dead give birth to the oricha.
This proverb is perhaps the one santeros most frequently quote. It can be inter-
preted as an acknowledgment that permission must be gained from the spirits
of the dead before one can communicate with the orichas. This is precisely
what the moyub does. At another level, santeros say the proverb reminds
them that they are linked to the orichas via the ancestors in a continuous chain
connecting individual santeros to a religious collective governed by the Regla.
Indeed, the living, the dead, and the deified comprise categories through which
individuals move, although in santeros understanding only a few exceptional
ancestors, like the Yoruba king of Oyo, Chang, undergo apotheosis to become
orichas.
In this chapter, I have taken up the problem of tension between individual
and collective religious goals. I have discussed how ritual discourse serves to
promote both individual and collective aims and to express both normative
and alternative interpretations of ritual events. On balance, the collective side
of the equation explicitly promotes obedience to tradition, to the Regla, to
ones ritual elders, and to the orichas. The collective need for group cohesion,
agreement as to norms, and shared interpretations of events are modeled in
canonical ritual forms, expected participant structures of rituals, attention to
ritual detail, and, let us not forget, gossips power to develop consensus, circu-
late warnings, and even censure those who stray from these precepts. Rituals,
it seems, have some power to compel religious participants to conform to a
shared sense of purpose or at least to stay in character during performance.
The individual side of the balance promotes participation in religious ritual
as a way to get ahead, to advance socially and materially. But in order to achieve
individual goals, ritual participants strategies must draw upon the very tropes
and forms of ritual that the religious community collectively agrees upon. At
the same time, individuals must be wary of others intentions and so keep a
skeptical attitude, much as I have modeled in my analysis of the consultation I
received. But this very skepticism, interestingly, is itself framed by shared ideas
of what is correct and what is a violation, what is respectful and what is not,
what counts as proof and what as contradiction.
The intersection between individual and collective interests, on balance,
actually advances Santeras distinctive sacred stance. The reason is that reli-
gious activity and the commentary and reflection it inspires continue to rely
upon the same recognizable ritual forms, the same tropic uses of ritual speech.
Participants invoke the same patterns of signification, the same frames and im-
agery, whatever agenda they are individually or collectively pursuing. The net
effect is that the more participants interest is aroused, the more they circulate
the ritual forms. They do so both by replicating ritualsseeking out another
consultation or sponsoring another ceremonyand by replicating significant
bits of rituals as they discuss them after the fact. What they deem significant
depends upon their aimsto critique an incorrect ritual step, to recount a

divination result. But even as ritual speech is replicated, quoted, paraphrased,
and everything else, its ongoing circulation both delineates the religious com-
munity and promotes its shared religious orientation.
Chapter 7 takes up another aspect of the question explored in this chapter.
Rituals like divination serve to balance both collective ideals and individual
strategies, and forms of reflective discourse such as gossip and critique can also
promote shared meanings even while enacting more divisive and skeptical at-
titudes toward santeros motives. Chapter 7 builds upon these ideas to examine
how a moral community of Santera emerges out of participation in rituals and
the controversies they engender.
7
Building a Moral Community

out of Critique and Controversy
When I visited Santiago in April 2002, a new acquaintance took me to meet his
godfathers family, which is prominent among santeros. Two of his godfathers
brothers and his mother were home when we arrived. All are santeros, and one
brother has also been initiated as a babalawo, the special caste of priests dedi-
cated to If divination. They were not especially pleased that their uninitiated
godchild had decided to bring a foreigner around, and to most of my friends
and my attempts to start conversation, one or another would cut things off
by insisting that a topic was secret or that noninitiates were not permitted to
attend certain rituals. They eventually started listing ceremonies a noninitiate
like me could attend and decided that I could accompany them to a tambor de
fundamento, or ceremony with consecrated drums, later that week.
Just then, some young men passed the door carrying bat drums. One
brother went outside to chat with them, then returned a few minutes later to
say that they were on their way to do a regular bemb, not a tambor de funda-
mento. The mother archly commented that I could go see that if I wanted, but
that it would probably be carelessly done, because it was just any old bemb.
Her comment precipitated a family discussion in which they emphasized that
most santeros dont do things correctly. Most are out to make easy money,
they claimed. In contrast, their family always does things correctly, lives by
the Regla, and has no patience with those lacking respect for or commercial-
izing the religion. They proudly explained that their family is recognized to
be preeminent, really a casa-templo or temple-house, a word used to refer to
families with prominent ritual lineages whose homes were always filled with
family in the saint and ritual activity.
As they warmed to the topic, I quietly entered the conversation by asking
how long their family had been involved in Santera. They had at least six de-
cades of experience among them. The mother added that her aunt had been
one of the first santeras of the city, during the era of the famous Reynerio Prez,
whom most Santiago santeros regard as the founder of Santera in Santiago.1
Reynerio is deceased, but his large family still maintains a house that most
santeros in the city agree is a casa-templo, a place guaranteed to hold a tambor
de fundamento on important saints days. Knowing this, I asked whether the
family had maintained connections with Reynerios familys casa-templo. The
mother quickly and firmly said no, absolutely not. Reynerios family has gone
downhill since his death. They recounted a story about an initiation done in
the house of a descendent of Reynerio. It was a travesty: why, they even permit-
ted a film crew from a cultural research center to come in and film everything,
even secret rituals reserved for santeros only! They were so shocked at the
ritual violations that they have since turned down invitations to witness or
participate in other ceremonies there.
Later in the conversation, they jointly told another story, in which a ba-
balawo who had for years committed blatant ritual violations fell sick. Not
one santero visited him in the hospital, nor did anyone step forward when he
passed away to conduct the necessary funerary rites (ituto) for santeros and
babalawos. Cut ritual corners, disrespect the religion, and die a sorry death,
they grimly concluded.
Our conversation mingled gossip, evaluations of ceremonies and santeros,
and critiques of everyone outside of this family. Such sessions were quite
typical among santeros sitting together while visiting, planning a future cer-
emony, or waiting for a current ceremony to begin or end. They often began
with the equivalent of someone bemoaning how the religion was going to
hell in a handbag and they often concluded with participants agreeing that
they were among the few santeros left who really respected the religion. Since
many sessions of critique, like the one recounted above, took place among
members of a particular ritual lineage, their other most common conclusion
was that their lineage did things correctly and was therefore deserving of its
prominence.
While such conversations might seem quite distant from formal ritual
speech practices examined in the previous chapters, they are in fact often quite
closely linked. Indeed, ritual performances like Albertos consultation for me
in chapter 6 or Yemays appearance at the tambor in chapter 5 often provoke
reflective discourses in the form of retellings, critiques, and so forth. A ritual
is like the pebble landing in water that produces a ripple of commentary, a
transfer of its sacred episteme and message into nonritual discourse on non-
ritual occasions. Among Santiagos santeros, reflective discourses on rituals
Building a Moral Community out of Critique and Controversy 169
may simply report on what happened, but more often recountings come with
a point. Santeros frequently critique rituals in which they have participated.
Often these critiques merge into ongoing disagreements or even provoke con-
troversies. On such occasions, the ripples of initial commentary may produce
additional ripples, as discussions continue, referring back to what has already
been said, as well as to the original ritual itself. Of course, the ripple metaphor
assumes that a ritual is in itself an isolated, originary event. It would be more
accurate to think of rituals as occurring in a matrix of overlapping discourses
(the pond surface in a rainstorm), some of which promote cohesion and some
of which fuel tensions and controversies among individuals and subgroups
within the community. In short, controversy, as much as consensus, may make
the religious community tangible.
In this chapter, I zero in on how ritual events provoke critique and contro-
versy, as well as consensus, and how critique and controversy serve as engines
of religious community. How can it be that everything does not simply fly
apart, given that religious participants may pursue individual agendas and at
the same time be suspicious of other participants agendas? First of all, some
aspects of rituals and other religious activities function to bring participants
together, whether to forge consensus or reinforce hierarchy and respect for the
Regla. In addition, controversies about religious activities themselves require
some basis of agreement about what, exactly, is in dispute. That is to say that
religious community emerges as that (ever-changing) group of people who
participate not only in the same rituals, but also in the same reflective discours-
esthe same disputesabout those rituals. For our purposes, controversies
suggest the outlines, or at least give a sense of the center of, particular com-
munities, even while pointing out fissures within a community. The center
or core of the community, as such, consists of those who are most enmeshed
in rituals and the reflective discourses they provoke.
Two examples developed in the chapter, one quite typical and one extraor-
dinary, reveal how after-the-fact commentaries draw upon, even echo, ritual
speech, and how, in referring back to what was said and done in rituals, cri-
tiques actually advance both a sense of community and a degree of consensus
about what it means to be a member of the religious community of Santera.
In previous chapters I have described how santeros approach rituals with an
odd combination of high expectation that the orichas will communicate clearly
and powerfully and with skepticism about most other santeros motives and
ritual abilities. These two somewhat conflicting tendencies come together in
santeros close attention to ritual detail.
Santeros attention to and concern with proof are formally recognized in

a ritual participant role called witnessing. In major rituals such as initiation
ceremonies, those responsible for planning must formally invite a number of
santeros to serve as witnesses. The semiritual invitation is called levantando, or
raising a santero, and requires that the host or hostess pay a small fee called
the derecho to the santeros principal oricha. Santeros explain that the role of
raised santeros is as much to witness events as to help with preparations.
Indeed, those who do help with various preparatory steps and other ritual ac-
tivities receive additional derecho payments for some of these. By witnessing
ritual events, santeros can ostensibly later confirm that everything was done
correctly and that particular divination results, for example, were received. Of
course, witnessing also gives santeros fodder for the gossip mill and food for
the critique of ritual events.
As the examples below detail, ritual participants, as witnesses, may reveal
multiple motives for critiquing a ritual. Most immediately, they express con-
cerns about following the Regla, showing respect for the religion, and attend-
ing to ritual detail. A santero who feels that these tenets have been violated may
be motivated to speak up during the ritual itself or later. But deeper analysis
of critiques suggests that these concerns often serve as triggers for santeros to
position themselves with regard to other sorts of agendas and tensions, which,
not surprisingly, principally concern social relationships. Many types of social
relationships are mobilized in critiques: positionings on the ritual hierarchy
of priests, relations of ritual kinship, friendships and enmities. These relation-
ships play out in whom one critiques, whom one chooses as audience for the
critique, and how others respond to the critique. In the first section of the
chapter I revisit the structures of ritual kinship and hierarchy that santeros
enact in creating a moral community.
The two sections that follow present two extended examples of critiques aris-
ing out of rituals. In both I explore the interactional alignments that emerge as
a result of the critiques. These positionings have implications for the processes
of creating new links of ritual lineage, advancing claims for ritual authority,
and differentiating ones own from other lineagesin other words, for struc-
turing religious community. The first example examines how a santero cri-
tiqued his friends initiation ceremony after the fact, with me and others in his
ritual lineage as audience, and with what effects. The second example examines
a larger-scale situation in which evaluations of ritual events were embedded in
later rituals, which in turn provoked a major controversy among the two castes
of priests, santeros and babalawos, in Santiago.
Ritual kinship and authority in Santera

Godparents and gods-as-parents
Any discussion of religious community in Santera must begin and end with
how religious participants structure ritual relationships. Indeed, the two cases
I examine later in the chapter make sense only in light of the nature of ritual
kinship in Santera.
Ritual kinship ties are formalized through initiation. While anyone can seek
out a consultation with a santero or find a tambor ceremony to attend, other
types of religious participation require initiation into Santera or what sante-
ros call making the saint. When someone decides to be initiated, they do so
under the supervision of a santero they choose to be their godparent. While
many santeros have uninitiated godchildren, initiating is understood to render
the relationship permanent and, theoretically, inviolable.2 In parallel with this
human connection, someone undergoing initiation also cements a bond with
a particular oricha who is that persons principal oricha or Guardian Angel.
Santeros I spoke with often linked these two bonds, one human and one divine,
by pointing out that in the idiom of initiation ritual, the godparents principal
oricha gives birth to the godchilds principal oricha (although they are likely
to be different orichas).
Initiation rituals produce additional ritual ties. First of all, by joining the
godparents ritual lineage, the new initiate gains an entire family in the saint.
The godparent of ones godparent is ones grandparent in the saint. The god-
parents other godchildren become ones siblings in the saint. Esteemed an-
cestors or founders of the lineage become ones ritual ancestors. Santeros recall
all of these connections every time they recite the moyub invocation, as ex-
amined in chapter 6.
In addition, the initiation ceremony requires a second godparent, called the
ayugbn or ayugbona, a Lucum term santeros translate as assistant godpar-
ent or godparent to raise (the child). This second gloss reflects the role of
the ayugbn, which is to nurture the new initiate, who is treated like a helpless
newborn baby during the larger part of the initiation ceremonies. Together,
the two godparents become the ritual parents who metaphorically bear and
raise their initiating godchild. In another divine parallel, the initiate also gets
an oricha father and mother: if the principal oricha is male, a female oricha
will be identified through divination as the mother, whereas if the principal
oricha is female, a male will be identified as the father. Santeros might say,
for example, that their mother is Yemay and their father is Obatal. Given
the pervasive parenting metaphors of initiation, it is not surprising that the

santeros often compare the recin iniciado (new initiate) to a recin nacido or
newborn.
Initiation
Indeed, the elaborate and expensive week-long initiation ceremonies bear all
the marks of classic rites of passage: the initiate is removed from his or her
ordinary context and, under the control of his or her godparents and the of-
ficiating santero or oriat, lives for a week in a space circumscribed by the mats
that make up the altar space. The initiate is stripped of clothes, bathed, shaved,
re-dressed entirely in white, and even renamed, all as part of a process of spiri-
tual purification.3 For the rest of the ceremony and, indeed, for the entire year
to follow, the initiate must wear only white clothes, must keep his or her head
covered, and must answer only to the special Lucum name for new initiate,
iyaw.4
Throughout the initiation ceremonies, parts of the religious community are
brought into contact with the iyaw, so that at the same time that the iyaw is
being incorporated into the religious community as a godchild of a particular
lineage, the religious community is reincorporating itself: the lineage members
come together to participate, as do other invited santeros. Some rituals during
initiation allow the community of participating santeros to shape the iyaws
new identity as a santero.
Others present the iyaw to the broader religious community, cementing his
or her new religious identity. An example of the latter is the Day of Presenta-
tion, in which the iyaw is dressed in a specially made outfit akin to a wedding
dress in that it will be worn only on this one day. The outfit, always in the colors
and style of the iyaws principal oricha, will be saved so that when the iyaw
someday dies, the outfit will be buried with him.5 On the Day of Presentation,
the iyaw sits on the altar receiving visitors, who in turn salute their saints and
leave an offering of money and perhaps some advice for the iyaw.
A crucial example of the former ceremony where the community shapes the
iyaws new identity occurs the morning following the Day of Presentation on
the Day of It.6 The It is a special divination ceremony in which an oriat, or
officiating priest, throws the cowrie shells for each of the orichas whom the
iyaw has received. That is, in addition to the iyaws own principal oricha, he
or she will, at a minimum, receive the orichas known as the Guerreros or War-
riors (including Eleggua, Ogn, and Ochos) and those known as the Corte or
Court (including Yemay, Chang, Ochn, Obatal, and Oy). All of these ori-
chas will speak to the iyaw during the It divination, in order to give advice,
warnings, prohibitions, and encouragements. As santeros like to explain, the
It sets down the regulations according to which the iyaw must now live. The
regulations form an individualized Regla that will continually remind the new
initiate to respect and obey the orichas. Certain foods, drinks, and behaviors
will be forbidden: Perhaps the iyaw may no longer eat goat or squash or drink
dark beverages like coffee or Coke; Perhaps he may no longer be permitted to
wear black clothes or drink alcohol or fight with his spouse; Perhaps she should
beware of going out in groups of three or more and must take care of her vision
lest she develop a problem. The prohibitions and warnings may range from the
utterly mundane to the most dramatic, as when Emilio was told in his It that
a grave was open for him or a family member (see chapter 1).
The It ceremony requires the presence of a number of witnessing santeros
beyond the oriat, iyaw, and the two godparents. The oriat (also called the
italero) runs the It, which means that he leads the liturgy, throws the cow-
ries, and interprets the results. Other santeros, especially the principal godpar-
ent, may also contribute their interpretations of the divination results. While
it is from santeros mouths that the advice and rules for the iyaw are uttered,
santeros credit themselves (or each other) only with inspired interpretation.
It is the orichas themselves who send the advice and dictate the rules when
they speak through their cowries. Thus, while santeros overt metapragmatic
understanding of It is that the orichas speak directly to the iyaw, their
practice of It implicitly emphasizes the importance of religious community
participation in the ritual as witnesses to and mediators of the orichas will.
Ritual hierarchy
In their cumulative effects, the ceremonies of initiation establish a clear bound-
ary between before and after and between santeros and everyone else. Santeros
have a number of Lucum terms for themselves, as individual santeros or as a
community: oloricha, omo oricha, iguoro. There is also a Lucum term for non-
initiates: aleyo. While the word refers to any religious outsider, santeros typi-
cally use it to refer to noninitiates who are present in a ceremony. For example,
I have heard frustrated santeros attempt to control a rowdy tambor by holler-
ing that all aleyos must leave the room to make room for santeros to dance
close to the drums. Thus, being designated an aleyo already moves a person out
of the general population and into a contrastive position with santeros around
the pivot point of initiation.
Becoming a santero means joining a ritual lineage and family as the most
junior member. Only with time and, perhaps, after initiating ones own god-
children, does one gain status, including the designation of babalocha or iya-
locha, father-of-the-oricha or mother-of-the-oricha. A few santerosmen
onlymove even higher up the ladder of ritual status by completing other
rituals and developing special expertise as officiating priests, whom santeros
refer to by any of three interchangeable Lucum titles: oriat, italero, obb.7 The
second term, italero, is a hispanicization of It meaning one who does It,
which is indeed one of the duties of the officiating priest. One final layer of
ritual authority is represented by those men initiated as babalawos, priests who
master the complex system of If divination. Babalawos comprise a relatively
autonomous caste of priests, since some are initiated without first becoming
santeros, and since they perform their rituals and maintain their lineages sepa-
rately from santeros (D. H. Brown 2003, Dianteill 2000).
Whether santero or babalawo, a priest gains seniority over time and with
increased status according to his standing among other santeros. A santeros
standing generally improves with more godchildren and more ritual expertise.
Upon dying the santero joins the ancestors, to be invoked by descendants of
his lineage. A few exceptional individuals, especially those who initiated large
numbers of godchildren, will be invoked by many santeros across multiple lin-
eages. Since the orichas are, in some sense, understood to be deified ancestors,
all santeros can, in theory at least, approach the asymptote of divinity. Figure
7.1 places all of the roles described along a single continuum where the arrows
move from aleyo across the boundary of initiation to ever more senior ritual
status, then across the boundary of death toward divinity.
By connecting these ritual roles with arrows, I suggest that the ritual hi-
erarchy is also a ladder of sorts, a progression one follows to get closer to the
authority of the deities. In practice, a santero may also gain ritual authority by
filling in the ranks behind him with godchildren who will seek out his advice
and expertise. These same godchildren will someday, ideally, keep the santeros
memory alive by invoking his or her name in the moyub. One very senior
Figure 7.1. Diagram of ritual hierarchy in Santera.

santera I interviewed who is getting older frequently voiced her concern about
how she would be remembered by wondering aloud whether anyone would
bother to moyubar or pay homage to her.
As I described above for the It divination, more senior santeros mediate
ritual communications between the orichas and more junior religious partici-
pants. This principle of mediation is also apparent in how santeros first placate
the ancestors before communicating, in words or offerings, with the orichas.
The orichas, in turn, are the ultimate arbiters between humans and Almighty
God, known in Santera as Olofi.
In this overview of ritual kinship, I have described how santeros organize
an idealized ritual hierarchy of roles across which individuals seek to move
ever closer to the divine. I hasten to caution that my various descriptions and
diagrams of ritual kinship and hierarchy should be taken as abstractions, ar-
ticulated by santeros, as well as by the anthropologist, who precipitate them out
of all the activities through which santeros create and reinforce social bonds.
I have briefly indicated some of the ways santeros come together as a moral
community to initiate new members, while simultaneously reinforcing their
own lineages and alliancesin other words, how the moral community is or-
ganized in part through normative ritual activity. The next sections examine
two cases in which tensions over who has claim to a potential new initiate play
out during It divinations. My goal is to show how the schema of ritual hier-
archy I have outlined also gets enacted through critique and controversy, such
that these activities, too, organize the moral community of Santera.
The ethnographer as aleyo (religious outsider and potential initiate)
The It divination
In the course of my fieldwork, I was frequently invited to various iyaws
presentation days, although most of the other rituals of initiation are secret
and closed to aleyos. Once, however, I was invited to attend an It divination.
Emilio and I had gone to pay our respects to an iyaw Emilios friend Roberto
was initiating on his Day of Presentation. To my surprise, Roberto invited us
both to return the following morning for the It divination. As we left, Emilio
explained to me that he thought that Roberto had made an exception because
he assumed I would soon be initiated myself. I might have been an aleyo, but I
was close to crossing that boundary, and perhaps needed only a small push. As
it turned out, Robertos It ceremony provided a push of sorts. It also exposed
the ways in which introducing new members reinforces the existing moral
community, not least by providing the lens through which to reflect upon the
Regla that santeros revere in common.
I only briefly describe the events of the It, which I was not allowed to record.
I will instead focus on how Emilio and I later discussed those events. Emilio
engaged in exactly the sort of critical commentary on Robertos ceremony that
is so prevalent among santeros. He detected many ritual errors, some of which
he found quite shocking. At the same time, he reiterated his respect for Ro-
berto, who had been initiated since childhood and was well respected among
santeros in Santiago and elsewhere on the island. Months later, Emilio revisited
his critiques of Robertos ceremony with his godparents when we visited them,
and on another occasion he brought them up with his godfathers ayugbona
(assistant godmother). All three elders agreed with Emilios assessment.
In discussing Emilios critiques of Roberto, I would like to focus on what
Emilio accomplished by making his critiquefirst with me and then with his
godparents and his grandmother in the saint. Much of his critique of Roberto
invoked normative notions of the role of religious community in an initiation,
especially the adherence to hierarchy and inclusion of proper witnesses. He
made his critiques before an audience of his own ritual lineage, and his cri-
tiques served to reinforce the ritual ties binding this lineage and to advance
claims about its propriety.
Aleyo goddaughterSanteroGodparentsGrandmother in saint
Kristina Emilio Teodoro & Tania Mara
Despite all that Emilios critiques did accomplish, they did not and could
not pass a certain point, because he did not have any evidence that the orichas
were displeased with Roberto. His unwillingness to second-guess the orichas
(even as he critiqued the santero) was perhaps the most telling evidence Emilio
presented that he lives correctly as a santero who obeys the Regla.
When Emilio and I arrived at Robertos on the day of the It, Roberto, the
iyaw, and a few other santeros were waiting for us. The iyaw was a young
man, barely twenty, who had traveled from Havana to undergo initiation with
Roberto. After some preliminary rituals, the It divination itself began when
we all gathered around Roberto, who sat on a mat in his living room, with all
of the plates of the different saints the iyaw had received sitting lined up next
to him. Each plate had on it the cowrie shells that would allow that oricha to
speak. The shells still bore the traces of blood and herbs from having been ritu-
ally fed the previous day. Offerings of sacred herbs, animals, and other valued
substances made to the orichas are necessary to activate the ach or sacred
energy of the cowries so that they will speak. As the It proceeded, Roberto
had each set of cowries brought to him in turn to conduct a divination for that
oricha: Eleggua, Obatal, Oy, Yemay, Chang, and finally Ochn, who was
the iyaws principal oricha. For each set of cowries, the iyaw was brought
forward from where he sat at the far end of the mat to sit before Roberto, who
threw and interpreted them on the iyaws behalf. A young santero sitting to
the side somewhat lackadaisically recorded the divination results and Robertos
advice in a notebook, the iyaws notebook of the saint.
As Roberto began to interpret the results from the first oricha, Eleggua, he
warned the iyaw to stay on the straight and narrow and to avoid partying. He
also spoke of the iyaws mother, whose dissolute example he must not follow.
Tears sprang to the iyaws eyes, and he nodded furiously throughout all that
Roberto said. Later, during the lunch that followed the It ceremony, the iyaw
told me that everything that had been said was the truth and that he had never
told Roberto anything about his life or family beforehand. I believed it, given
that Roberto did not even know the iyaws name when I later asked him for it.
During the course of the divination for Obatal, Roberto looked up from
one throw of the cowries, an osogbo or bad letter, to pronounce that some-
one in the room would have to be initiated. The santeros looked around at
each other, then all looked at me, obviously the only noninitiate in the room.
I would have to undergo initiation, Roberto explained to Emilio and me. I
would also have to receive the Warriors very soon and also receive Olokun, all
because of problems associated with travel and with my family. He did not go
into any more detail, instead returning to the divination for the iyaw.
Witnessing ritual violations, offering critiques

The next day, Emilio and I sat down for a class. He began by asking me whether
I had noticed all the ritual errors Roberto had made. I reached over and turned
on my tape recorder as he began to enumerate them.8
1 Emilio: First of all, I didnt like that the self-same godfather was also
the italero of the ceremony.
Emilio explained that even a knowledgeable godparent like Roberto, who
was often hired as an oriat or italero (officiating priest) could not fill that role
for his own godchilds initiation. The italeros role was to officiate over all of the
special ceremonies of initiation to ensure that everything was done correctly.
By filling the role himself, the godfather short-circuited this important check
and balance and thus committed a violation.
2 E: I respect him very much because he has a great deal of knowledge,

many years of experience, but for me, for melater well verify this
with other santeros(KW: Yes)for me it is a violation.
His next criticism was that Roberto had not raised enough additional
santeros. We went through who had been present at the Itonly about five or
six additional santeros, all of them godchildren of Roberto. This was a problem
in Emilios judgment.
3 E: Because the witness must be a person who certifies that individual
was initiated in the religion. So, if all are his own godchildren, perhaps
they could covthey could cover for their godfather; they could say,
no, everything was fine, there were no problems. That is, that when
there is a witness, that witness warns, this is being done badly, that
is not done this way, this we have to do in this way. Thats how the
witness can say it.
4 KW: But you were one of the witnesses
5 E: Who, me?
6 KW: For two, yes, two days
7 E: But I was not, I was not invited
8 KW: Ah!
9 E: I was not raised as a santero to work there
10 KW: Uh-hmm
11 E: I was not, because if one raises me, one has to put, that is another thing
that I will tell you now. One has to go before my Ochn to ask permis-
sion of my Ochn. That is, my saints, and then deposit a derecho, so that
I will be able to go to that ceremony.
12 KW: Uhm-hmm
13 E: I participated, but as a friend.
The basis for Emilios criticism is that rituals such as initiations require the
participation of a broad cross section of the religious community. In this way,
members of more than one lineage are there to witness that the rituals are
correctly carried out and to raise objections if they disagree with anything.
But his own presence at Robertos ceremony did not mitigate his criticism that
only Robertos godchildren were present: Emilio had been present, yes, but he
had not been ritually levantado, raised. He thus denied having responsibility
for correcting Roberto, because he did not have his own saints permission to
participate as an official witness.
Emilio then went on to comment that the iyaws ayugbona or assistant
godparent should have been present for the entire It, when instead she had
come in quite late. She should have had the responsibility of writing down the
It results in the notebook, a job which instead went to a rather bored young
santero who barely wrote down anything. He then summed up his critique
thus far:
14 E: That is, that we could see (1 second) that there were several viola-
tions. That one is the second, that is, that there were not many wit-
nesses.
Those who did participate as witnesses were all godchildren of Roberto and
thus were unlikely to criticize him. When a lineage adds new members, sante-
ros from other lineages serve as witnesses for the entire moral community that
rituals are done correctly and that the new initiate is legitimate.9
Roberto and his godchildren, in contrast, were too informal about every-
thing. Emilio went on to point out that the young ayugbona was herself still an
iyaw. She was still completing her first year of being a santero and was thus
too young to give birth to another santero yet. He reminded me that the
iyaw must complete one full year from initiation before becoming an oloricha.
Only then could a santero be godparent to a new iyaw.
Emilio then brought up yet another violation: he had noticed only a few
animal hides in the yard, whereas a typical initiation required a dozen animals
or so. When we had come for the Day of Presentation and been offered food
of the saint prepared from the offerings, there had been only a few dishes.
These observations suggested to Emilio that the iyaw had not made all the
required offerings. Another thing wrong was that Roberto had not been paying
his godchildren their derechos, fees, for performing various tasks during the
It, a few coins or peso notes which the oriat usually hands out throughout the
ceremony. It looked as if Roberto were cutting corners; Emilio suggested that
Roberto had been trying to help the iyaw save some money, perhaps because
of his urgent need to undergo initiation. And such a young man, barely twenty
years old, would surely find it difficult to scrape together the thousands of
pesos needed for all the expenses of an initiation. By using only his own god-
children as participants, Roberto might have been simply saving the iyaws
money. While this motive was not as morally suspect as outright commercial-
ization of the religion, the glaring fact of the ritual errors remained.
Note that in all of Emilios critiques thus far, he has positioned himself in
the evidentiary stance of a witness: he continually references what we saw or
did not see as the basis for his ability to critique Robertos ceremonies. This
stance becomes even more important in the final critiques he offers. A few
minutes later, after recounting an incident from his own initiation in which
his godfather made a ritual error with serious consequences, Emilio returns
to critiquing Robertos ceremony, this time speculating on a ritual we had not
been present to see. I present the transcript here in much greater detail than
above for two reasons: first, Emilio offers herein his most devastating critique
of Roberto, and second, there are important implications of this critique for
our relationship as godfather and goddaughter, implications embedded in the
subtleties of our discursive positioning.
15 E: I did not participate . . . I dont know how they would do the masses.
16 That is, the ebb de entrada (sacrifice of entrance), I dont know how it
went.
17 I can not give an opinion because. we were not there.
18 KW: Hmm
19: E: But it seems that it was correct. (1.5 seconds) Why?
20 Because at any rate when the saint is not beingis not coming out well,
the dead spirit stalls,
21 it doesnt permit them to continue the ceremony, it provokes some ac-
cident,
22 some incident and it does not permit the ceremony to continue.
23 KW: Uhm-hm
24 E: For this reason I say that he must have explained everything very
well.10
In his speculations, Emilio takes the footing of a witness to events. He first
emphasizes that he cannot comment on the misa, the spiritual mass for the
dead, or the ebb de entrada, the first stage of initiation in which a divination
decides the iyaws principal oricha, because he was not present. But he then
goes on to consider indirect evidence: during the It he did witness, he saw no
problems. I know from many other occasions and conversations what Emilio
means by problems coming up or accidents happening: perhaps an animal
dies before it can be offered or the police show up and demand to see a permit,
disrupting proceedings by carting everyone off to the police station. Or per-
haps a bad divination result keeps coming up, forcing the santeros to deal with
its implications before proceeding. In his comments in lines 2022, Emilio
focuses on the cause of such an incident or accident: the spirits of the dead stir
up a problem in order to register displeasure about earlier ritual errors or omis-
sions. Note that Emilio pairs the deads potential to provoke an accident with
the verb permit. Permission in this context is denied by physical interference

in the course of ritual events rather than by verbal prohibition. The spirits are
silent but no less potent. However, the conditions for asking and receiving per-
mission are set by the santeros acts of speech, implicitly directed to the spirits,
which Emilio refers to in line 24 when he concludes that Roberto must have
explained everything very well. That bad happened, Emilio reads as evidence
that Roberto must have done the initial rituals correctly and communicated his
intentions clearly to the spirits.
25 E: Because, well, in noand I watched, I was always relying on the
shell.
26 I always watched the shell to see if .. if it was giving well,
27 and the shell indeed said all that he claimed is true, the shell said it
(repeatedly).
28 Everything he claimed, the shell said.
29 I saw no .. no problem of
30 KW: That is to say that almost all was ir?
31 E: Ir
32 KW: Uhm-hm
33 E: And without osogbo. Without osogbo are the bad signs that they
give you.11
Emilio again emphasizes his footing as witness: he repeats three times in
this section that he watched the cowrie shells carefully during the It. He dis-
tinguishes sharply between the divination signs, what the shells said, and
Robertos interpretation, what he claimed, which allows him to regard the
shells as providing independent evidence of Robertos assertions. In fram-
ing Robertos speech as a claim, Emilio expresses doubt about what Roberto
knows. The speech of the oracle, however, can independently confirm or deny
the truth of the diviners claims. This distinction between the participant roles
of Roberto and the shells-as-orichas continues to be important, as Emilio ques-
tions Robertos performance during the It.
I respond to Emilio by attempting to specify how it is that the cowries speak
by equating the shells speaking well with a good divination result, ir. Emilio
responds to this Lucum term with its antonym, replying: and without os-
ogbo, (meaning without bad divination results). He goes on to give bad signs
as a gloss for osogbo, thus maintaining his teacherly stance toward me, his
student, even though my use of ir suggests that I already know these Lucum
terms. In the following section, he manages to turn the orichas and spirits
seeming approval of Robertos ceremony into a backhanded compliment. Bold

type indicates words Emilio stressed.
34 E: Or that is that it seems .. or that his saints are (ha-ha) accustomed
(ha-ha) to working this way already.
35 Or that he has established his thing very well.
36 Or prepared his house very well so that there will be no problem.
37 Because that is another thing, the santero has to know how to prepare
his house, so that there will be no problem at the time of the saint.12
Emilio suggests, with a laugh that softens the accusation, that perhaps Ro-
bertos saints are used to the ritual shortcuts he takes, implying that Roberto
habitually engages in violations (line 34). He then offers the more generous ex-
planation that Roberto has prepared everything thoroughly in line 35. In lines
3637 he moves back into a more pedagogical mode, summing up the general
importance of knowing how to ritually prepare ones house for ceremonies. He
then introduces another topic, still in teacherly mode, as if he will now leave
off critiquing Roberto to teach me about something I saw at his ceremony.
38 E: Well, you saw a ceremony .. thatit is not usual . to see
39 KW: Uhm-hm
40 E: that is the angareo. I did not talk to you about this ever.
41 K: Hmm
42 E: I never talked to you about the angareo because it is a secret cer-
emony.
43 But ok, now that you have already seen it I have to tell about it.13
In launching this lesson as my teacher, Emilio simultaneously contrasts his
position as a santero to mine as an aleyo (noninitiate): he is privy to secret
knowledge, whereas I am not. It is only by accident that I now know of this cer-
emony. His final two lines, 4243, are markedly faster and softer than the sur-
rounding lines, presenting an audible icon of telling secrets. Santeros are not
supposed to share secret ceremonies with aleyos. As a good teacher, however,
he will meet the needs of his researcher-student. I pick up on his implication
that it was improper for me to see the angareo ceremony and ask a question
that derails his lecture and switches us back to critiquing Roberto one final
time.
44 KW: And, ah, .. ah, . Were you, ah, ah, .. surprised that they allowed
me . to see?
45 E: Yes, yes, yes, yes, because that is not-
46 Ok, its that we have a good relationship of friendship

47 and he knows that definit
48 He thinks, its not that he knows.
49 He thinks that you will definitely have to be initiated.
50 He you(laughter) you sawDid you realize?
51 He believes that you will be initiated because I told him,
52 No, she is my goddaughter.
53 KW: Uh-huh
54 E: So then he has this stuck in his head and it came out.
55 Didnt you see?14
Emilio answers my question about whether he was surprised that Roberto
let me see the secret angareo ceremony with a second whispered critique
of Roberto that trails off, Yes, yes, yes, yes, because that is not- (line 45). He
interrupts this train of thought to instead attribute a series of thoughts to Ro-
berto. Roberto, according to Emilio, violated secrecy because he believed that
I would soon be initiating. The pattern of words in bold traces Emilios super-
imposition of stresses on a series of thought-verbs in lines 4754: first, Roberto
knows; then he thinks; then he believes; and finally, in line 54, he has this
stuck in his head and it came out. The progression reveals Emilios doubtful
attitude toward what Roberto thinks he knows. Why does Roberto have this
idea that I must be initiated? Because, Emilio suggests, he himself planted the
idea by introducing me to Roberto as his goddaughter. Roberto interpreted
this relationship between us to mean that I would soon cross the boundary be-
tween aleyo and iyaw. This, in itself, was a common enough assumption, one
that Emilio encouraged people to make as he took me around. But in this case,
it formed the basis for a serious critique of the It results, because Emilio was
denying that the result calling for me to undergo initiation truly came from the
orichas.
Emilios choice of the verb salir, to come out in line 54 is intriguing, be-
cause santeros frequently use it to express how the cowries produce a divination
result: sali, it came out, they will say, meaning that the oracle has given a sur-
prising or unexpected result, something the diviner might not have previously
known. This use of the verb, especially when contrasted with verbs of speak-
ing like it said, displaces agency and responsibility, allowing what Du Bois
(1992) describes as an intentionless message. In Emilios usage in line 54, what
came out (in divination) was what Roberto had stuck in his head. Emilio is
thus implying that the result that I must undergo initiation was not the speech
of the orichas through the cowries, but Robertos projection of something he
believed into his interpretation of the cowries. To put plainly what Emilio has
only hinted, Roberto at best misread and at worst faked divination results, see-
ing what he wanted to see in the divination signs. Without lingering, Emilio
then switched from the topic to a futile search for a scrap of paper on which
Roberto had written down what I needed to do, lo que te sali or what came
out for you, as Emilio put it. His critique made, he then launched directly into
a lecture on the angareo ceremony.
Tracing the circulation and effects of a critique

What did it mean that Emilio questioned Robertos divination results? This
critique capped an entire list of critiques Emilio had made. His skepticism,
his concern with ritual detail, and indeed his emphasis upon the importance
of witnessing in rituals are all common enough among santeros to qualify as
religious virtues. But in making his critiques, and especially in questioning
Robertos results for me, Emilio was also putting into play our religious role
alignments. Emilio and Roberto were both santeros, and I was Emilios god-
child, a potential iyaw. By channeling the orichas claims on me during the
It divination, Roberto had set up a momentary interactional structure that
suggested how it would be if I were to undergo initiation. I was receiving
Roberto-the-oriats interpretation of my It results while my godfather stood
by. The results suggested a future repetition of this interactional alignment, in
which Emilio and I would come to Roberto, who would oversee my initiation
as an iyaw. Alternately, I could replicate the situation of the current initia-
tion, bypass Emilio, and have Roberto initiate me as both godparent and of-
ficiating priest. In either case, Emilios final critique of Roberto suggested that
he, too, saw these suggestive role alignments and intervened to cast doubt on
Robertos motives and his ritual correctness. Each time he critiqued Roberto,
he implicitly positioned himself on the moral high ground of one who knows
and respects the Regla.
This example of how Emilio critiqued Roberto illustrates how such critique
works, and especially how it effects its own context by mobilizing ritual roles
and relationships in both the narrative of the critique and in the interactional
context of its retelling. Within this dynamic, some claims to ritual authority
and relationships get advanced, while others get challenged. In this specific
instance, Emilio offered his critiques in the context of our dual religious and
secular relationship as professor lecturing student and godparent preparing
godchild.
On several later occasions, sometimes months later, Emilio revisited parts
of his critique of Roberto when we were with other, more senior members of
his ritual lineage. The day after our own conversation, Emilio brought up his
concerns about Robertos ritual errors with his godparents, Teodoro and Tania.
He had brought me to their home that day to have Teodoro do a consultation
for me. The results did not in any way echo Robertos call for me to undergo ini-
tiation, which Emilio told me confirmed his suspicions about Robertos results.
What did come up in Teodoros divination was the repeated warning that I not
go off with just anybody to participate in rituals. Emilio looked at me signifi-
cantly each time, knowing as he did that I followed up every possible lead in
my fieldwork. Afterward, Emilio had Teodoro and Tania sit down in the living
room to listen to his account of Robertos many ritual violations. Shocked, they
agreed that each of the critiques he made was valid: the initiation had been rid-
den with violations. Emilio had his godparents validation to back him up in
his critiques. He had demonstrated his conscientiousness before them and me.
Teodoros divination results for me implicitly confirmed that Robertos results
had been false and that I should not stray from Emilios lineage. At a different
level, and most significantly for my argument, Emilio brought his ritual fam-
ily together to reinforce their sense of being knowledgeable and respectful in
contrast to someone outside the lineage, who was sloppy and disrespectful
of ritual rules. Just like the santero family in the chapters opening anecdote,
Emilio and his ritual kin sat critiquing everyone else and promoting their own
religious propriety, thereby reinforcing their lineage as the core of their moral
community. Note, however, that santeros are only in a position to make such
critiques to the extent that they continue to participate in and witness rituals
held by others.
Emilio recounted Robertos ceremony on at least two other occasions half
a year later. Both were interviews I recorded with him and two different se-
nior santeras he counted in his ritual lineage. One was Teodoros godmother
(and so Emilios grandmother-in-saint) and the other had been a major par-
ticipant in Emilios initiation ceremony, even though she was not actually his
godmother.15 On both occasions, Emilio brought up Roberto by name and
recounted two or three of his ritual errors, receiving the santeras vigorous
agreement that Roberto had committed serious violations. Once again, a cri-
tique of Robertos ritual violations fueled a discussion of the Regla and their
own allegiance to it.
This story of how Emilio critiqued Robertos ritual performance cannot do
more than suggest what effects his critiques have had over time. Nor is there
any evidence that Emilios critiques ever made it back around to Roberto (al-
though if he continues to share his opinions with people, the religious commu-
nity is intimate enough that Roberto will probably hear something eventually).
The second and final case study of the chapter focuses on the broader effects
of circulating evaluations, appraisals, and critiques of rituals and their par-
ticipants to show how critiques, paradoxically, create community even as they
establish competing factions. Emilios critiques are extraordinarily ordinary: I
cannot count the number of times I heard santeros critique other santeros. It
was especially common for santeros within a single ritual lineage or family to
disparage other lineages, in particular or in general, for una falta de respeto
(a lack of respect) of the religion. In doing so, those present reinforced their
own sense of being in a superior lineage.
When foreign aleyos like me were added into the mix, the critiques often
became even more volatile, as santeros accused other santeros of initiating
foreigners for profit. Below I explore how the charge of commercializing the
religion (the ultimate act of disrespect) played out as the ultimate challenge to
another santeros claims to religious propriety.
The Dutch iyaw

Only santeros may participate in the It divination
Months after my participation in Robertos It ceremony, I was again invited
to attend an It by a santero whose godfather was initiating a foreigner from
the Netherlands. Difficult as it was to gain access to this semisecret ceremony, I
happily accepted the invitation.16 The Dutch man, whose name I never learned
because people referred to him solely by this epithet, had come to Santiago at
least once before, had been quite taken with the religion, and had arranged
to return in order to be initiated as both a santero and a babalawo. My friend
knew him because the foreigner had become close to my friends godparents,
a married couple. The foreigner had also met a young babalawo, Pedro, who
lived nearby. He had arranged with Pedro that Pedro would serve as his god-
father in If and that he would undergo initiation as a babalawo just as soon
as he completed his initiation as a santero. The foreigner thus had two godfa-
thers. This often happens when a santero later goes on to become a babalawo,
although not all babalawos are first initiated as santeros. Later, several santeros
commented to me that the foreigners planned schedule of back-to-back initia-
tions was a bit rushed and that it is better to wait between these initiations. But
coming from abroad as he did, it must have been more expedient for the man
to complete both ceremonies during a single two-week trip.
In any case, I attended his very festive Day of Presentation one afternoon,
then returned the next morning hoping that my santero friend had succeeded
in convincing his godfather to let me sit in on the It. All initiation ceremonies
were being held at the house next door to where the godparents lived. The
houses living room had been taken over as the cuarto de santo or room of
the saint, the sacred space in which the altar with its living space for the iyaw
was set up and where most of the rituals would be performed. Outside in the
large courtyard, the place was abustle. Along the walls hung the hides of any
number of goats, sheep, and other animals sacrificed the previous day to the
iyaws new saints. There was even a tortoise shell. A small army of santeras
commanded the outdoor kitchen. At least a dozen other santeros and santeras
milled about, chatting. Many of them had been levantado (raised) to serve as
witnesses during the It divination. Among them I recognized several senior
santeras. An oriat, or officiating priest, had been hired to perform the ac-
tual It in which each of the iyaws saints would speak directly to the iyaw
through its cowrie shells. One of the raised santeros would be charged with
recording the divination results and the specific advice of each saint in a special
notebook for the new initiate and his godparents.
After the initial, secret ceremonies of the morning got under way inside,
those present reassembled outside to participate in a ritual invocation of Olo-
run, understood to be the sun in Santera.17 During this ritual, called the an-
gareo, Pedro, the babalawo-godfather of the Dutch iyaw, arrived. Afterward,
all the santeros filed inside for the It, and Pedro followed. I waited outside
until my friend emerged to tell me that I would not be allowed to enter because
I was not initiated. I remained outside in the courtyard for awhile, hoping that
I might chat with someone in the kitchen. For this reason, I was still there
when the first controversy erupted. Voices were suddenly raised inside, then
Pedro the babalawo emerged, looking very disgruntled. Inside, the oriat had
noticed his presence and interrupted his invocatory prayers to question why
he was there. Although Pedro was a babalawo, the oriat insisted to the as-
sembled santeros that he could not stay, because he had never been initiated as
a santero. If Pedro wanted to hear the It, he could sit outside the room and do
his best to listen in, but more. Pedro left in a huff and joined me outside, where
we could just barely hear what happened next.
According to a transcription I made from someone elses tape recording
inside the room, the oriat proceeded with the divination for a minute or so,
then interrupted himself a second time to castigate the other santeros, saying:
You know that it is permitted when it is a relative in the saint, but other-
wise it cannot be. (16 seconds) You people have to learn, gentlemen.18 An-
other santero spoke up in defense of the santera who had apparently invited
Pedro to come in: Juana knows. What happened is that she respects him.
This exchange prompted a brief general discussion among the participants,
which the oriat cut off by pointing out that babalawos never would let sante-
ros into their sacred room during their rituals: We santeros cannot enter into
the room of Orunmila (oricha of babalawos) for anything. . . . In the same
way the room of the saint has to be respected. This imbalance, wherein often
young, twenty-something babalawos pulled rank on even senior santeros by
denying them entrance to the proceedings of their ceremonies was a sore spot
for many santeros, especially senior santeros such as the oriat and several of
the older santeras present. Now they were repaying the insult by demanding
equal respect for their rituals. They banned Pedro because he had skipped over
the step of being initiated as a santero before becoming a babalawo, a sort of
social climbing that also rankled senior santeros.
Pedro stomped angrily around outside for a few minutes, trying to hear
what was being said inside, then left in a huff. When a friend and I met up with
him a week later to visit a ceremony for babalawos, he told us as we walked
that he had had every right to be present as the godfather in If of the Dutch
iyaw. That is, when the oriat declared that only a relative in the saint could
be present in the It, he was splitting hairs in not considering Pedros role to
count. It was apparent to everyone I talked with later, whether present or not,
that the oriat had been reacting to a perceived lack of respect from babalawos
in the city toward santeros. On this all agreed, differing only in whether they
saw the oriats reaction against Pedros presence as justified or not.
An osogbo, or bad letter, is blamed on the babalawos

Toward the end of the It divinations, a bad letter (osogbo) called Aray came
up. When the oriat asked the oracle whether the osogbo pertained to the
Dutch iyaw, the answer came back No. Next he began asking who it might
pertain to. Was it directed at him, the oriat? No. The iyaws sister, back in
Europe? No. The iyaws godmother? No. The oriat tried a different tack with
his next question to the oracle: did the bad letter have to do with the house
in which they sat? Yes. He called for the owner of the house to come forward
while he did further divination steps to figure out which saint was offended.
Was it Olokn, Yemay, those who speak through this particular sign? No. Was
it perhaps Eleggua? Yes.
Recall that all of these affirmatives and negatives are decided in a cowrie
divination by giving the client, or in this case the iyaw, two objects to hide in
his hands (all such objects are known as ibo or ib). The oriat casts the cowries
once or twice, depending upon the first letter he gets, and this sign determines
whether he asks to see the iyaws right or left hand. If the chosen hand holds
the large snail shell, the answer is Yes. If the small, dark pebble is revealed
instead, then the answer is No. Those assembled occasionally declare yes or
no aloud when they see the object, thereby translating the chosen object into
a verbal response from the oricha.
In any case, after the suspenseful process of deciding that it was Eleggua
who was angry at the owner of the house, the oriat suggested that the problem
must have arisen during the matanza or killing ceremony of the animals that
he had missed the previous day. He suggested that the Eleggua of the house had
been neglected during the offerings, and that this made Eleggua uncomfort-
able. At this, the woman who owned the house asked the oriats permission
to speak and suggested that something had happened: during the matanza, an
unspecified theythose officiatinghad neglected to feed and cleanse her
Eleggua in its place behind the door. At this, the oriat began to fume:
1 Oriat: But look, thank God and Eleggua and all the saints
2 Thank God and Eleggua and all the saints that I left,
3 because all the atrocities that (you/they) say that (you/they) did here,
get out, I would have had to take out a gun and shoot myself.
4 I would have had to take out a gun and shoot myself,
5 because that I do not understand and I do not want to talk more
6 lest people take offense.19
The oriats furious outburst does not make clear who he is blaming for the
ritual lapses. From his elision of the subjects of say and do in line 3, he could
be holding the assembled santeros or other parties responsible. In the acrimo-
nious debate that followed, the defensive responses of the owner of the house,
my friends godfather, and the oriats own godmother, a very senior santera,
suggest that they felt that the oriat was holding them responsible at least in
part for violating the Regla and offending the Eleggua of the borrowed house.
But the other responsible parties were not present to defend themselvesin-
deed, I understood that the babalawos were involved in the error of overlook-
ing the houses Eleggua only when my friend, reviewing the transcript with me,
commented:
Now [the oriat] begins to make a complete analysis, because it hap-
pens that when the matanza was doneas it is an outside house, see, that
the house does not belong to my godfather or anything. They made the
saint in a house. When the babalawos made the offerings of food [to the
saints], they did not feed the Eleggua of the house. So thats where the
problem comes, because everyone is asking themselves where the Eleg-
gua was fed, and so from there a complete argument about that problem
[starts], because if the babalawos did it badly, because if they did it like
this, what do I know? From there it sheds light on another thing, that you
are going to hear all this debate [about].20
It transpired that the oriat had left the matanza ceremony because Pedro
and a group of his fellow babalawos had come to participate. By virtue of be-
ing babalawos, they were senior to all the santeros present and so, apparently,
had taken over running the ceremony. When I suggested to my friend that the
babalawos had forgotten to feed the Eleggua of the house, he retorted: Its not
that they forgot, its that the babalawos, when they did not become initiated as
santeros, dont know!
Here too, bad feelings between santeros and babalawos in the city un-
derlay the controversies infecting these ritual events. Santeros felt that the
babalawos, even the young and inexperienced ones, condescended to them
even though they actually knew very little about rituals. Indeed, they had
blundered badly enough in this case to offend an oricha by making a mistake
that, the santeros implied, no one properly initiated as a santero would ever
make.
What is interesting about this moment of critique is that it occurred during
a ritual and referred to an earlier ritual in the same initiation ceremony. While
there was nothing sacred about the nasty finger-pointing that ensued after
the oriats furious comment (which I will spare my readers), these arguments
fed directly into the interpretation of the bad sign during the It divination. In-
deed, when the oriat was finally able to get a word in edgewise, he seamlessly
began to give the owner of the house his interpretation of her bad sign, explain-
ing that in that sign Eleggua comes telling you warnings about upcoming
problems and ways to protect herself and undo the damage. But let us reexam-
ine how these pointed critiques of a previous ritual came up to begin with. The
oriat arrived at his initial suggestion that Eleggua had been neglected during
the matanza only after a bad sign came up and only after he had taken further
steps to define the source and target of the bad sign. Any Santera practitioner
would quickly point out that it was the saints themselves who were bringing up
the problem, explaining such a situation by saying that ritual errors are bound
to have consequences by coming up in the divination.
Nor was this the end of the santeros critique of the babalawos. But before
proceeding to act 3 of the Dutch iyaws It, I wish to compare the first two
instances of critique that arose within the ritual. First, the oriat took it upon
himself, as the officiating priest, to throw out Pedro the babalawo because he
was not initiated as a santero. His justification was that it was incumbent on
him, as the senior priest, to avoid violating the Regla by having a noninitiate
present at a secret ceremony. The oriat couched his comments as a critique
of the santeros present for allowing Pedro in. Throwing out Pedro opened up
a discussion in which the oriat aired the santeros grievances against the ba-
balawos, who did not respect them and therefore did not respect the Regla
de Ocha. In the second event, the saints, via the cowrie divination, were the
arbiters who pointed out a ritual error. The oriat merely interpreted their mes-
sage, which again led to his initial critique of the other santeros (namely the
iyaws godfather and the oriats godmother), who then fought it out among
themselves about who was responsible for allowing the babalawos to skip feed-
ing the Eleggua.
These examples show how important critique is, not only when it happens
after the fact as commentary on a ritual, but when it becomes part of the ritual
itself and thus gains additional moral authority from the ritual context and
the presiding orichas. Even as things seem to be flying apart, the santeros who
gathered for this It ritual are negotiating and co-constructing the boundar-
ies and norms that unite them as a moral community. The babalawos, in the
santeros retelling of events, are portrayed as an arrogant, ignorant, and disre-
spectful out-group against which the assembled santeros define themselves as
the truly religious followers of the Regla.
The saints forbid the iyaw from becoming a babalawo

One final event during the It surpassed the previous two in impact. While it
followed logically from the earlier critiques of the babalawos, its ramifications
exceed even those of kicking Pedro out. At the very end of the It divinations,
just before the oriat was about to close the communication channel with the
final saint, the iyaws godfather spoke up. He asked the oriat for permission
to speak. Yes, yes, yes, said the oriat somewhat impatiently. The godfather
then spoke quietly, directly addressing Eleggua, and explaining that the iyaw
wanted to continue on to receive If and become a babalawo. He then asked
Elegguas permission for this step, saying, If you permit him to, he will con-
tinue, or if you do not permit him then he will not.21 The room was for once
utterly silent. Then, the oriat held up the snail shell and pebble to be used in
divining Elegguas answer, saying: Here is the ib. This one says Yes, look at
it, that one says Yes, (unclear) that (other) one says No.22
Since, during the course of the previous hour, he had used the shell and
pebble in this standard way dozens of times, pointing out the yes-no possibili-
ties to the assembled santeros before the question had been asked carried a
special significance. The oriat was, in essence, stating for the record that it was
the saints who would answer through these divination objects, not him. Dis-
claiming responsibility in this dramatic way made an impression great enough
for my santero friend to clearly recall the moment two years later. The oriat
then handed the shell and pebble to the iyaw to hide in his palms and threw
the cowries, leading the crowd in the Lucum call and response:
Oriat: Ochareo!
Santeros: Adach!
Oriat: Ochareo!
Santeros: Adach!
We can imagine that all leaned forward to watch, as the oriat counted the
face-up cowries and declared, Obbara, six face up, then tossed them again to
produce Ogunda, three face up. Silently, he indicated which hand the iyaw
was to open (it would have been the right hand for this sign, 63), and then,
showing what must have been the pebble all around, he asked, Is that clear?
Ten seconds of silence passed, then he added:
Oriat: I dont say this, Eleggua said it, got it? And (unclear) from his
hands. You can make what you will of that, ok? With that may
all ba binu with Olofi, Ochareo!23
With that, the oriat washed his hands of the matter, letting the godfather
decide how to respond to Elegguas no. Lapsing into the Lucum formula for
closing a divination, he drew a final Adach from the assembled santeros and
threw the cowries for the closing divination that ensured that the saints had
said all they wished to say.
How controversy shapes community

And what did the godfathers final question and its answer mean? He asked
Eleggua directly whether he gave permission for the Dutch iyaw to be initi-
ated as a babalawo in If. The final divination result was No. The oriat took
pains to distance himself from responsibility for this answer, making clear that
it was the cowries that spoke, and not him. He also refrained from interpreting
the result, instead saying that the other participants should make their own
decision about what to do.
Why all the drama? By posing the question, the iyaws godfather in the
saint was challenging Pedros right to be his second godfather of If. Pedro
had already been kicked out of the ceremony. Now the godfather would have
to go to him and explain that a divination result had forbidden the iyaw
from initiating as a babalawo, not next week, not ever. He did go to tell Pe-
dro, who brought in other babalawos, and there were apparently a number
of visits back and forth between the santero participants and the babalawos.
Of course, Pedro and the other babalawos were furious. Wherever I went
during the next few weeks, I heard about the acrimony, the accusations of
impropriety from all sides. The topic came up spontaneously, whether I was
walking with two santeros or interviewing a babalawo or just sitting in the
kitchen with a santera friend who happened to be a close friend of the oriat
and had heard about the situation from him. Everyone, even santeros and
babalawos who had not been present for the It, had opinions about what
had happened. Those who had been present or who were directly involved,
like Pedro, had even stronger feelings. As my santero friend rather mildly
summed it up for me a month later: That was a huge problem afterward,
but a huge problem! Many problems, many arguments. That took about ten
or fifteen days of wrangling.
Amidst all the discussion, two positions solidified: that of the babalawos
and that of the santeros. The babalawos felt that the iyaws godfather had
no right to ask such a question. As Pedro explained to me and a sympathetic
santero friend one day while we were walking with him to another ceremony,
the matter had already been settled before the It, indeed before the santero
initiation had even begun. Pedro himself had already done an If divination
in which the result was that the Dutch iyaw would have to receive If. For
the other godfather to ask the question again during the It was incorrect, a
ritual violation even. Worse yet, Pedro couldnt be there to protest because
they had kicked him out. The other godfather was looking to start trouble,
he concluded.
The santeros, on the other hand, felt that the godfather was justified in pos-
ing the question, given all the trouble that the babalawos had already caused.
Why, just within the It ceremony, one uninitiated babalawo had to be re-
moved and their earlier ritual errors had offended an oricha and come back as
a bad sign on the house. Given these and other (usually unspecified) problems
the babalawos had caused, the godfather was right to seek to protect his god-
child by making sure the godchilds principal saint gave his blessing. When the
answer came back No, that only confirmed the godfathers suspicions. One
santero, a godchild of the Dutch iyaws godfather, pointed out to me one day
about a month later while I was interviewing him that the iyaws principal
saint, Eleggua, seldom allows his children to become babalawos for esoteric
reasons derived from and supported by various legends involving Eleggua and
Orunmila, the oricha of If divination.
Presented thus, both sides of the debate found support in ritual protocol
and religious doctrine for their positions. However, while each side clung to
its version of the moral high ground, they each lambasted the other side for
commercializing the religion. The babalawos sadly said that the godfather
in the saint was greedy and jealous, afraid to share a foreign godchild with
anyone else. He stole the iyaw away from Pedro by posing a faulty It ques-
tion that should never have been asked. The santeros accused the babalawos
of the very same pecuniary interest: hadnt the iyaw paid Pedro $1,000 (a
small fortune when Cubans were lucky to earn maybe $25 a month) for his If
initiation? And the babalawos didnt want to give the money back. Some said
that they had already spent some of it preparing for the initiation that never
happened. It was the babalawos who were out to steal away the iyaw and
make money off of him. Several santeros I spoke with echoed the critiques
the oriat had made during the It divination: these young men became ba-
balawos because they hoped to make lots of money charging exorbitant rates
for If divinations. The proof was that they were in too big a hurry to become
babalawos to be initiated as santeros first and really learn the religion. They
went straight to being initiated as babalawos and then thought they were
better than anyone else!
Round and round went the debate, braiding together religious error and
bald commercial interest. Two years later, when I revisited some of the same
santeros, they themselves brought up the situation and rehashed the old argu-
ments. Several new babalawos (and many new santeros) had been initiated
in the meantime, but the fault lines separating santero and babalawo had not
changed. What is fascinating about the debate, hinging as it did on criticizing
the other position for a lack of religious propriety, was that no one, not once,
questioned that Eleggua, when asked, had said No. It may or may not have
been wrong to ask the question, but no one would contradict what the saint
had answered. The Dutch iyaw, in the meantime, quietly accepted Eleggus
verdict. He went home without becoming a babalawo.
Conclusion: Rituals, recriminations, and emergent moral community
This story, which I have told at length, illustrates several more general points
about the role of rituals and of reflective discourses about rituals in the mak-
ing of religious community. This particular controversy, which served as a
lightning rod for deep-rooted concerns about babalawo-santero relations and
problems of commercialization, is perhaps unusual in its scale, but not atypi-
cal in its outlines. Like countless other less dramatic encounters, critiques, and
debates, the controversy over the Dutch iyaw throws into sharp relief both the
outlines of the religious community of Santera and the fissures within it. Par-
ticipation in the debate, even among those at several degrees of remove from
the actual ritual participants, indicates who is included in this particular moral
community. The positions taken in this controversy, and in other instances
of critique, gossip, and so forth, inevitably fall out along the lines separating
ritual lineages and distinguishing babalawos from santeros; but santeros and
babalawos alike, most of whom had not been present during the ritual itself,
were drawn into the discussions and were thereby clearly participating in a
common moral community.
The evidence in this and previous chapters illustrates that an essential part of
the dynamics of religious community in Santiago is wrapped up in competition
over prestige, deference, and recognition. The recognized markers of cultural
capital among members of this community are numerous godchildrenespe-
cially foreign godchildren, invitations to participate in numerous rituals, signs
that one is consulted by others for ones ritual knowledge, an ability to display
such ritual knowledge (as in speaking Lucum and knowing the ritual songs),
and even recognition by folkloric and other cultural and scholarly institutions
of the state, as described in chapter 3. Amid all of the individual strategizing,
alliance-building, self-advancement, and lineage-promotion that santeros (and
babalawos) find to be necessary to advance their religious capital, consider
more closely what it is that makes religious community. Throughout the chap-
ters, I have emphasized the crucial interrelationship between rituals and re-
flective discourse about rituals, especially because Santera does not have cen-
tralized institutions or membership rolls. It is through participation in rituals
and evaluations of rituals that santeros enter into a religious community. The
religious community consists of that unbounded and porous, but still recog-
nizable, group that comes together around a common set of religious practices,
including discursive practices. But that consensus is not stable: it is better char-
acterized as a shared interpretive focus on continuities and norms that masks

ongoing struggles and negotiations over what constitutes religiously correct
tradition, what is within the Regla of the orichas, and what evinces respectful
religious propriety.
Before rituals, during rituals, and after rituals, religious participants come
together to plan, discuss, teach, witness, help, evaluate, critique, and engage
in all the activities that advance both personal and collective religious agen-
das. Rituals are the grist of the mill, where events happen that are noteworthy,
newsworthy, and in need of discussion, evaluation, and critique. Rituals, we
have seen, also can provide space for discussion, evaluation, and even critique
of outside events. They can also provide frames for understanding events that
happen elsewhere and serve as clearinghouses for consensus, as when the ori-
at articulated many santeros feelings of hostility toward babalawos from his
bully pulpit as the officiating priest of the It divination. Rituals themselves
provide opportunities to comment on and reach (or not reach) consensus on
other rituals, past or future. The It divination events examined above illustrate
three of these evaluative possibilities in critiquing outside events, previous rit-
uals, and planned future rituals. Figure 7.2 below illustrates these moments of
reflective discourse within the sequence of rituals that occurred for the Dutch
iyaw.
Starting with Ritual Event 1 during the It divination, the oriat justified
throwing out the babalawo on the grounds that babalawos do not show the
proper respect for santeros and their rituals. In the second ritual event I exam-
ined (Ritual Event 2), the oriat interpreted a bad sign to refer back to a previ-
ous, botched ritual conducted by the babalawos. In the third ritual event, the
Matanza If initiation
time
Figure 7.2. Diagram of how moments in the It divination comment upon other
ritual and non-ritual events, past and future.
godfather posed a question to the oracle about whether a future ritual could
occur, receiving a negative response.
Such ritual-internal commentary may be formal or informal to different de-
grees. Sometimes a participant may break from formula to enforce a particular
rule, as when the oriat declared that noninitiates could not stay. Sometimes
a critique arises out of divination results which prompt those assembled to
examine what rules or ritual details may have been neglected and to assign
blame. What have you done, and was it done correctly? What should you do
next? Of course, such commentary can and does happen outside of ritual as
well, whenever santeros assemble. But what makes rituals so important is that
they project the weight of moral authority. We have seen how ritual structures
of participation model proper relations with the divine, including an emphasis
on respect, divine causation, and attention to detail. Rituals perform sacred
communications and demonstrate patterns of sacred significance that partici-
pants may then apply to other life events. In rituals, the voices of the orichas are
established to be tangible: as tangible as the cowries, the Lucum invocations,
the divination signsall of which invoke the voice of the orichas. Rituals es-
tablish patterns of sacred significance by linking events into sequences of cause
and effect: A ritual error during one ceremony brings out a bad divination
result in a later ceremony. A piece of advice during a divination suggests how
a person should conduct themselves thereafter in life, with dire consequences
for failure to heed the advice.
The progression of ritual events diagramed in figure 7.2 also reminds us that
santeros agree in regarding the orichas as the final arbiters, to be consulted in
divinations and obeyed. Controversies like the one simmering between sante-
ros and babalawos in Santiago do tend to culminate (but not necessarily end)
with what the orichas have to say on the subject. Their word on things is taken
as final, or at least accorded the respect of never being directly challenged,
even if santeros sometimes find room for differing interpretations of the ori-
chas messages. How different this is from the skeptical stance santeros often
take with regard to each others religious activities and motives. And yet, it is
in santeros reflections on ritual performances and other religious activities,
in discursively sifting the sacred wheat from the chaff of human foibles and
interferences, that santeros construct their moral community.
8
Conclusion
The Promise
Babal/ Babal Babal/ Babal

Babal Ay Babal Ay
Babal Ay/ Babal Babal Ay/ Babal
T empezando lo velorio The mass is beginning
que le hacemos a Babal that we do for Babal
Dame diez y siete velas Give me 17 candles
pa ponerle en cruz to put them in the shape of a cross
Dame un cabo de tabaco Mayenye Give me a cigar, Mayenye
y un jarrito de aguardiente and a small bottle of cane liquor
Dame un poco de dinero Mayenye Give me a bit of money Mayenye
pa que me d la suerteyo quiere ped so that Ill have luckI wants [sic] to request
que mi negra me quiera that my black woman will love me
que tenga dinero that I will have money
y que no se muera and that I wont die
Ay, yo le quiero ped Babal Oh, I want to request of Babal
na negra muy black woman so
Santa como t que no tenga Beloved like you that she not
otro negro have another black man
pa que no se fuera so that she wont leave
Margarita Lecuona
Desi Arnaz, costar of the 1950s television sitcom I Love Lucy, sang Margarita
Lecuonas song Babal as his signature tune. Babaloooo! his character,
Ricky Ricardo, would exclaim when something surprised or impressed him.
Born in Santiago de Cuba, Arnaz did what Cuban musicians and singers have
done before and since: he drew upon the Afro-Cuban cultural motifs that sur-
rounded him in his music and lyrics (Isabel Castellanos 1983). Unbeknownst
to the vast majority of his U.S. audience, Arnazs signature tune and trademark
interjection invoke the name of a fearsome oricha, Babal Ay, deity of leprosy
and other contagious diseases. Nor is Babal Ay the only oricha to find his
Conclusion: The Promise 199
way out of religions sacred sphere into popular song lyrics: Cuban popular
music has long been full of songs such as Que Viva Chang (Long Live
Chang) and Una Flor Para Ochn (A Flower for Ochn).1 The names of
these deities, like other elements of Lucum praise songsrhythms, phrases,
melodiesare cultural forms that circulate widely in Cuban society. Similarly,
bits of other rituals of the popular religious complex, like the Spiritist velorio
(mass for the dead) described in Babal, also get recirculated in nonreligious
contexts like popular song, although perhaps not to the extent that Santeras
emblems do. Sometimes their very presence conveys a sacred stance, but some-
times they are reinterpreted as folklore or superstition. Arnazs lyrics, with
their colloquial and even bozal inflections, caricature a poor, uneducated, and
superstitious Afro-Cuban man who offers a ritual to his santo, Babal, in hopes
of improving his circumstances. Although playfully rendered, the song por-
trays its characters religious stance as simpleminded and slightly ridiculous.
In doing so, it implicitly squeezes the sacred stance into a broader interpretive
frame that associates that kind of religiosity with that kind of social persona.
But this interpretive squeeze on the sacred is not the end of the story,
nor are manifestations of popular religiosity like Santera diminishing under
contact with the folkloric stance. Even when co-opted into other interpretive
frames, religious interpretations have a way of infiltrating along with the bor-
rowed cultural forms. Daniel (1995) and Hagedorn (2001) have documented
how folkloric drummers, singers, and dancers performing sacred rhythms,
songs, and dances of the orichas for tourists sometimes seem to allow the hi-
erophany of the music and movements to carry them away, blurring the lines
between sacred and folkloric stances. While Daniel reports on how a dance
troupes officers reprimand dancers for such slippages, Hagedorn describes a
more complicated interpenetration of the sacred and the folkloric (aligned with
what I describe in chapter 3) in which she argues that the combined intent of
performers and audience ultimately shapes the meaning of the performance.
The Cuban notion of doble moral should remind us that intent is neither clear
cut nor ever completely knowable. Nor is a performances meaning necessar-
ily fixed or unitary. I have shown that even when ritual participants share a
sacred stance, their interpretations of the ritual vary and even shift over time
with further reflection. Like santeros who critically analyze each ritual, we can
seek clues about a performances motivations and effects, clues we pursue by
reading into the stances and role alignments different participants take, both
as events unfold and later, with hindsight. Thus far, I have considered Arnazs
song only from the point of view of the singer, who takes a parodic position in
relation to the figure he animates in the lyrics. But Hagedorn reminds us that
the audience, too, has agency to accept or to challenge and reframe the implicit
framing of the performance.
I once witnessed Desi Arnazs popular number reclaimed and reframed
within the sacred stance in a startling way. A Cuban santero swore to me that
Desi Arnaz chose his signature tune to fulfill a promise he made to Babal
Ay back in Santiago in his youth. In Cuban popular religiosity, a promise is a
vow one makes to a particular deity or spirit in return for receiving that entitys
help in resolving some problem or achieving some goal. People may promise
the patron saint of Cuba, the Virgen de La Caridad del Cobre, that they will
visit her shrine in the town of El Cobre on her saints day. They may promise
Eleggua, an oricha sometimes portrayed as a child, that they will thank him
by having a party for all the children in the neighborhood. They may promise
the muerto who is their spiritual protector that they will throw a tambor every
year in his or her honor. As a general rule, the more desperate the plea, the
more grandiose the promise. Indeed, La Caridads shrine in El Cobre is filled
with relics left by grateful supplicants: crutches, war medals, photographs. And
pilgrims to the church of San Lzaro (identified with Babal Ay) in Rincn,
outside of Havana, may crawl the distance on his feast day, December 17th
(Ayorinde 2004: 127; Ramos, Orejuelos, and Gray 1995/1993). Desi Arnaz, ac-
cording to the story I was told, promised Babal Ay that he would dedicate a
song to him if the saint would help him become successful. Arnaz did achieve
fame, and so he chose his signature tune so as to praise and thank his saint on
the show.
The historical truth of this claim is obviously not my concern here. What
interests me is that a santero was proposing a sacred interpretation for a T.V.
sitcom song, in which the songs lyrics signal the singers dedication to a fear-
some and powerful oricha. Why else would a singer risk invoking the name of
Babal Ay, oricha of gruesome diseases? The logic makes sense only within a
framework in which deities names are powerful, songs are prayers that open
communications with the divine, and people make and keep promises to the
deities. In this interpretation, Arnaz was not voicing the words of a black
witch with ironic detachment but was taking on this religious persona in or-
der to covertly praise a saint or oricha. Doing so is, in fact, a well-worn trope in
Cuban popular music, in which the singer may well intend the song to praise
an oricha as well as to entertain the human audience. (Celina Gonzlezs Que
Viva Chang is one well-known example, as she was known to be a santera.)
By attaching the interpretation of promise to as catchy and well-known a
cultural icon as Arnazs Babal, the santero was, whether aware of it or not,
promoting the further circulation of this genre of religious activity. The song,
in the santeros interpretation, stands as a comprobacin (proof) of Arnazs
religiosity and, less directly, of Babal Ays potency. Now that I, in turn, have
repeated the story, we see how well it worked. To fill in details that supple-
ment the santeros account, we know of Babal because Arnaz became fa-
mous, which, in the logic of the story, suggests that his promise worked. Who
knows what else we might reinterpret as a sign of a private act of bargaining
with Higher Powers! What else might be revealed as a promise? It seems that
the sacred can squeeze back!
Metaphysical and metacultural squeezes

Throughout this book I have argued that the interactions among interpretive
stancesthe ways in which they converge or compete, co-opt one another or
simply coexistare what generate Santera as a tangible and widely recognized
cultural product. It is both part and parcel of Cubas popular religious complex
and, in large part because of interpretive discourses among practitioners and
folklorists alike, it is polarized relative to other traditions within that complex,
so that it emerges most sharply as the paragon of Afro-Cuban religiosity.
Although I have made only passing references to other practices in Cubas
popular religious complex, these, too, emerge as more or less well-defined re-
ligions by the same kinds of interactions among interpretive discourses and
practices that may reinforce or blur boundaries among them. Whether dis-
tinct communities of Espiritismo, Palo, popular Catholicism, and Muertera
are shaped by similar dynamics of community-through-controversy remains
an open question, although my guess, based on my admittedly limited empiri-
cal data for these cases, is that these practitioners form much smaller, more
localized groups that are more fragmented, more likely to be connected into
the better-defined networks of Santera, and less well integrated into larger-
scale communities on their own merits. The recent scholarly recognition of
the entity tentatively called Muertera makes this an especially interesting case
to watch, in order to see whether this scholarly-folkloric category takes hold
among practitioners and leads to a growing sense of being a community of
practice. Even if so, Santeras case may be distinct because of how santeros
own emphasis on community, coupled with their dynamics of competitiveness
and skepticism, interacts with folkloric interpretations that highlight Santera
as an emblem of national Euro-African cultural synthesis.
These dynamics were the subject of part 1, on religious histories. I examined

how alternate, even competing construals of Santera made by others outside
of the religion put a squeeze on santeros own sacred stance. Santera itself
emerges from this swirling mass of discourse as a particular sort of cultural
form, or rather, as several strikingly different cultural forms, depending on
ones interpretation. It is as if, in the course of this book, I have cut through
onion-like layers of discourse only to find that the onion consists of and in
those layers.
Of course, santeros construct their sacred stance through their ritual and
other discursive practices, as fractious and skeptical as these can sometimes be.
And yet, out of the controversies and conflicting interpretations emerges a co-
herent metaphysical order and a recognizable moral community. Detailed eth-
nographic examples have illustrated how santeros religious practices provide
both distinctive phenomenological experiences that cry out for interpretation
and frames for interpreting those experiences. Simply put, it is in the bright
light of metacultural attention that Santera emerges as a coherent community
of practice. That attention comes from both intrinsic interpretive frames of
rituals and explicit discourses of reflection and evaluation.
Throughout this book, I have shown the ways in which santeros, individu-
ally and as a community, engage in religious activities to elicit particular sacred
experiences, make sense of them, and impose sacred order on their lives. In
doing so, they continually recreate Santera as a living religion. In part 2 I con-
sidered the nature of religious experience in Santera, showing how santeros
evaluate and retell experiences through the lens of hindsight. Rituals provide
many potential experiences of the sacred and even provide implicit interpre-
tive models for those experiences. But ultimately, it is through discursive pro-
cesses of retrospection and reflection on events that santeros decide on their
religious value.
Finally, I examined in part 3 how religious community is built out of par-
ticipation in both rituals and the reflective, often critical, discourses that sur-
round rituals. These two poles of discursive activity together promote shared
meanings and ritual goals, even when santeros seem to be working for personal
goals of advancement in the religion. Indeed, it is through the very channels
of gossip, critique, and controversy that santeros continually reconstitute the
social boundaries and moral contours of their religious community. Rituals
provide a necessary center, but surrounding discourses give definition to that
center.
In the course of chopping this onion first one way and then another, there
are many aspects of Santera that I have not touched or have mentioned only
in passing en route to some other point, even though these may be primary in
other published descriptions (the pantheon of orichas and their patakines or
legends, the key rituals of initiation, the notion of ach and associated herbal
lore and sacrificial practices, and so forth). I have cited many other treatments
of Santera, from scholarly books that provide greater historical and folkloric
context, to scholarly and popular discussions of rituals and religious lore by
santeros themselves, to manuals for practitioners.2 Likewise, I have referred to
boundary-blurring practices across the popular religious complexdivination
techniques, bembs, initiation procedures, ritual kinship, liturgical registers of
speech, and performative genres like making a promisewithout dwelling
on all of the details of the standard distinctions made among the ostensibly
different religions.
My approach, in many ways, has mirrored my argument about the interplay
of experience and interpretation: I have on the one hand presented detailed
analyses of religious activity as I experienced and recorded it in my role as
participant-observer. On the other hand, I have sought to bring into focus
my own and other possible interpretive frames by asking how practitioners,
through religious activity, constitute Santera as a religion and themselves as a
moral community.
During a tambor ceremony I witnessed, the oricha Ochn had possessed a
young santero and was giving advice to another young santero who had spon-
sored the ceremony. This encounter between the divine presence of Ochn and
the young santero was mediated by an older santera who stood between them
and translated what Ochn was saying. The Lucum speech of the santero pos-
sessed by Ochn necessitated an experienced translator, a santera who could
give the message to its intended recipient. In that moment of ritual, the triad of
participants enacted the ritual hierarchy, with a more senior priest mediating
between the oricha and the recipient of her advice.
As their encounter proceeded, Ochn reminded the santero of all she had
done to help him, then asked whether he had completed what he was sup-
posed to do. After a few attempts at interpretation, aided by additional, cryptic
comments by the oricha, the translating santera was able to make this rather
vague question explicit: had he made a pilgrimage to the shrine at El Cobre?
He hadnt. Ochn and the translating santera then reminded him that he had
made a silent promise to do so. By claiming to know about this presumably se-
cret intention, and by calling it a promise, the descended oricha and the senior
santera proposed an emplotment of events that would reveal a sacred mean-
ingnamely, the give-and-take relationship between a santero and an oricha.

The oricha, echoed and magnified by the senior santeras translation, raised the
stakes by threatening to withhold her support in the future if the young santero
did not acknowledge her past support by respecting his promise. If the young
santero accepted this plot, then their very words would become a proof of
Ochns omniscience in knowing of his promise and an impetus for him to
carry through the plot by making his pilgrimage to El Cobre. If, as a result of
completing his end of the bargain, the santero experienced the good fortune he
hoped for, then the stage would be set for him to retroactively regard the entire
series of events reaching back to his initial silent promise before the ritual as
a sacred experience. This example, together with the host of other examples I
have examined, illustrates how rituals seek to induce religious experiences of
this sort in participants, by producing intense experiences during the ritual
itself that then pull events of everyday life into their orbit.
As essential as ritual performances are in establishing religious order, they
are not the only activity that matters. Throughout the book, I have also exam-
ined the reflective practices in which santeros engage: indeed, discourses of
reflection, interpretation, and critique surround rituals and occur whenever
santeros get together. The moral community of Santera emerges because the
same people participate in both rituals and reflective practices. We have seen
how santeros reflective practices encourage skepticism and how their skepti-
cism serves to draw their attention to ritual details. Attention to ritual details,
in turn, reinforces the sense of a Regla, a sacred Law and tradition to which
practitioners adhere. Skeptical reflective practices, thus, focus practitioners
attention on a set of cultural practices that looks, to them and to those of us
observing from outside, like tradition.
For example, the very idea of the promise as a category of religiously rel-
evant activity circulates because religious practitioners persist in identifying
certain of their own and others acts as being promises. The two examples
above illustrate that a promise is a religious interpretation of an act that, on
the surface, may not appear to be religious (or that may even have been silent
and hidden until being revealed as a promise). To label something a promise
reinforces the idea of divine communication at the core of Santera and related
practices, because it is keeping ones own end of a bargain, presumably after
the divine being has kept its end too. Promises arent in themselves experi-
ences, but are about narrativizing a series of experiences to become a sacred
story: An intractable problem presents itself, so the victim makes a promise
to an oricha. If the problem gets resolved then the promise must be fulfilled
lest another, worse problem return. The promise as a genre takes on its own
circulation, as something we can apply to a situation in order to construe the
actors intentions in a religious sort of way. The promise, as a cultural act and
as a meaningful interpretive category, is about faith.
Enacting faith
Perhaps the most startling moment of my fieldwork was also the moment that
I most viscerally understood what a religious experience, a moment of deep
faith, might feel like. What an indelible image Graciela made: my seventy-
something hostess lay prone on the hard cement floor of her house before her
Eleggua and banged her forehead on the ground. Eleggua, please open the
way, she cried. Then she made him a promise.
Graciela did this on my behalf. My grandmother had died, and I had to in-
terrupt my fieldwork in Santiago de Cuba to attend the funeral. The trouble was
that it was Saturday and my husband and I had encountered a major obstacle
to getting to the funeral: we needed permission from Cuban Immigration to
leave, and we needed it before noon, when the office would close until Monday.
Without permission, we would miss our flightthe only one we had been able
to find on short notice that would get us out in time. Our host family mobilized
to help us. Gracielas son, Maceo, took my husband off to get the necessary pa-
pers and rush everything over to a friend of a friend in Immigrationa classic
case of Cuban socio-lismo, or drawing upon ones social network to circum-
vent the impenetrable Socialist bureaucracy. Meanwhile, Graciela sat with me,
nervously watching the clock. At 12:05 p.m., Maceo called to tell me that things
were still in process and gave me the cryptic message that Graciela should at-
tend to the thing at the door, meaning the Eleggua. A conical cement head
with cowrie shell eyes and mouth, Eleggua can be found behind the front door
of many Cuban households, often seated in or on a small wooden box, which
is his house (see figure 2.5). Eleggua is the oricha who opens and closes the
way, as Cubans say, the keeper of doors, crossroads, and journeys. When Gra-
ciela got Maceos message, she ran to light a candle for Eleggua, then lay on the
floor before him and performed her extraordinary supplication.
Maceo and my husband returned a while later with our exit permits in
hand, and everyone declared that it was a miracle, a literal miracle, that we
had run the gamut of Cuban bureaucracy in time. Gracielas young grandson,
as it happened, was celebrating his birthday later that afternoon, and Graciela
explained that she had promised Eleggua that she would turn the party into
a don de gracias (thanksgiving offering) to him for opening the way. Because
Eleggua is personified as, among other things, a small child, it would please
him if we invited all the neighborhood children to come share the birthday
cake.
The events of this extraordinary day were suffused with religious meanings,
with signs of divine intervention and human reliance upon it. Immersed as I
was in grief and desperation to reunite with my family, I came as close as I ever
have to experiencing events as a miracle of divine intervention. I felt immense
gratitude and relief as I handed cake out to some 20 children and their moth-
ers who crammed into the kitchen later that afternoon. The joyful, tearful faces
of Graciela and Maceo, in particular, suggested that they had lived the days
events as a religious experience.
Looking back on the day with the benefit of some distance, I still wonder
at the cultural forms of meaning-making through which events can become
religious experiences. Our success in getting exit visas in time was noteworthy,
but what made it miraculous was the religious activity surrounding it, namely
Gracielas acts of faith. Her dramatic way of getting Elegguas attention should
focus our attention on the plot she set in motion in that moment of making
a promise. By these means, our human efforts to get the exit visas became
contingent upon divine intervention. Our success obligated us to make our
return offering to Eleggua, which we did that same afternoon by adding a new
purpose to the birthday party. Such acts of faith originate in the deployment
of religious labels and genres like the promise and, whether successful or
not, become telling moments that generate further reflective discourse that
keeps religious participants focused on their search for communion with the
divine.
Coda: Una Flor Para Ochn

I close with one more telling moment about Santeras resilience as a religion.
Emilio once invited me to see a cabaret show he had choreographed. Such
shows are important tourist attractions and revenue-generators, and the state
lavishes resources on these showcases of tropical beauty and exoticism. Being
a folklorist as well as a choreographer, Emilio had chosen to develop his show
around folkloric themes, and so he featured elements of Santeras sacred songs,
in addition to Carnival details, Jamaican and Haitian influences, and so forth.
Tucked into this folklore-meets-glitz extravaganza was a short number featur-
ing an old popular song, Una flor para Ochn. The dancers emerged dressed
as flowers, and by the end of the number they had arranged themselves around
one dancer clad in an enormous, shimmering golden cape that rose behind her
in a sunburst. Emilio, who had joined me at my table after the opening, leaned
across to tell me that this number was his special don de gracias to Ochn for
giving him the opportunity to direct the cabaret production. I looked up again
at the stage and it hit me: Emilio had choreographed an altar to Ochn, com-
plete with an offering of flowers and a resplendent, golden Ochn herself at
the center (see figure 8.1). As much as secular stances of suspicion and folklore
might put a squeeze on the sacred, as much as santeros find themselves and
their traditions co-opted into folkloric and commercial ventures, the sacred
interpretive frame of Santera also has potential to circulate beyond the moral
community of practitioners and to make an appearance where one least ex-
pects it. Ach!
Figure 8.1. Tropicana dancers create a living altar to Ochn to fulfill the choreographers promise
to her.
Notes
Preface
1. I thank Matt Tomlinson for reminding me of their discussion.

2. In particular, see the exemplary work in Bauman and Briggs (1990) Bauman
and Sherzer (1974) Goffman (1981), Gumperz and Hymes (1972), Hill and Irvine
(1993), Parmentier (1997), Silverstein and Urban (1996), Urban (1991), and Wortham
(2001).
3. From the Oficina Nacional de Estadsticas estimate, December 31, 2001. This
figure includes the metropolitan area. The estimate for the urban center itself was
454,000 (2002).
4. Farnell and Grahams (1998) excellent treatment of research methods in dis-
course-centered approaches emphasizes the importance of naturally occurring dis-
course.
5. One of the issues Farnell and Graham (1998) raise concerns local sensibili-
ties about nonrecordable events. This was one of my key concerns, because many
rituals in Santera are secret, and many older santeros forbid cameras even dur-
ing more public ceremonies. I usually found that an audio recorder was more
acceptable than a camcorder, although I was careful to always ask permission of
my hosts. In some cases I was permitted to attend secret ceremonies, but without
recording. In these cases I wrote extensive field notes afterward. In another case,
I was not allowed to attend, but a santero was permitted to enter with a tape
recorder and record events for me. It was sometimes a struggle to balance my
research needs with santeros sensibilities, especially when the lines of the permis-
sible were constantly shifting, depending upon whom I asked and when. I always
tried to err on the side of respecting the wishes of my hosts, recognizing the ethical
struggle in which many santeros found themselves between a long-standing code
of silence and secrecy and new pressures to tell all and reap the pecuniary benefits
of attracting foreign friends and godchildren. My approach proved its benefit as I
came to realize how fast gossip travels, especially when it concerns disrespect to
the religion.
210 Notes to Pages 111
Chapter 1. Introduction: Telling Moments
Authors note. Translations from the original Spanish, French, or Yoruba are mine
unless otherwise indicated.
1. Emilio, recorded March 21, 2000, in Santiago de Cuba: Vaya! Yo tengo expe-
riencias increbles en el santo. Por eso yo creo tanto en mi santo. . . . Y respeto tanto,
porque son vivencias que uno ha tenido. (laughs, 2 seconds) Parece mentira, parece
cuento de Aladino.
2. All names are pseudonyms unless otherwise noted.
3. Some good entry points into this extensive literature are Bell (1992), Desjarlais
(1992), Drewal (1992), Hanks (1996), Keane (1997), Tambiah (1979), Turner (1967),
and Whitehead (1987). In addition, Bloch (1974), Briggs (1993), Feld (1982), Schief-
felin (1985), and Urban (1991, 1996) provide important discussions of how ritual
speech and song, in particular, both create and evoke metaphysical orders.
4. To use more Michael Silversteins more recent but abstruse terminology, rituals,
like any other sign-events, convey an intrinsic metapragmatic regimentation, or set
of semiotic clues to their own interpretation (1992: 7071; 1993). Because rituals are
so highly entextualized, which is to say easily recognized and replicated as cohesive
units, their metapragmatics may more readily be replicated in later events or even
transposed into other kinds of events, like narratives about ritual events.
5. Bakhtins (1981) classic work on voicing and dialogicality provides the original
insight motivating this sort of analysis.
6. Original Spanish text of Emilios narrative of the warning, recorded June 19,
1998, in Santiago de Cuba:
Emilio: No es fanatismo. No es fanatismo, es realidad porque yo no soy fantico.
Yo, s, tengo m-, y yo soy religioso y tengo mi creencia pero no soy fantico. Yo
te dije que cuando en It .. a m me sali, a m hubo que darme Olokun, urgente,
el da del It mo. O sea, el tercer da, cuando me dijeron todo eso dentro de las
cosas que me dijeron, me dijeron, el hoyo est abierto. El hoyo en el cement-
erio est abierto para uno de la familia. Y rpidamente, para salvar al iyaw, o
sea, para salvarme a m, haba que darme Olokun. Porque Olokn es muerto,
Olokn protege de los muertos. Como es muerto, protege de los muertos. O sea,
mi padrino tuvo que salir rpidamente a buscarme Olokn, hacer la ceremonia
en el mar, porque hacer la ceremonia en el mar lejsimo, a buscar todas la her-
ramientas, buscar todas las cosas, todos los pauelos de Olokn, todas las cosas y
darme Olokn para que el hoyo no estuviera abierto por m. Cuando hay un hoyo
abierto para la familia en el cementerio, porque alguien se va a morir. Cuando me
dieron Olokn, que buscaron todo rpidamente, todo, todo, todo, buscar la m-
quina, rpidamente, al mar, buscar todas las cosas. Eh, bueno. Salvamos al iyaw.
O sea, me salvaron a m. Ya no soy yo, pero ahora hubo alguien de la familia se
va, se iba a morir. Hay que investigar quien es y empezaron a preguntar, pero
no decan quien era. No dijo. El santo no dijo en ningn momento quien era.
Notes to Pages 1126 211
Es alguien de la familia, pero no dijo quien es. Y bueno, que decisin se tom?
Proteger a las personas de la familia que estuvieron ms enfermas, mi mam, mi
hermano Pedro, que siempre estaba enfermo, y un to mo, que siempre estaba,
que como tomaba tanto, siempre estaba enfermo tambien. Empezamos a cuidar
a esas personas, hasta dependiente de yo, su medicina. Si tenan algo rpidamente
para el mdico.
KW: Ellos tenan, podan ir a?
E: A la ceremonia ma del santo?
KW: S, o al, a: , algn
E: lugar para, para protegerse? No. El santo no dijo que protegiera a toda la
familia. Que estuviera pendiente a las fami-, a las personas que ms enfermas
estuvieron dentro de la familia. Y eso fue lo que hicimos estar pendiente a mi
mam, a mi hermano Pedro, a mi to Marcos, que son las personas que, porque
Pedro siempre estaba enfermo, que toque en [nombre del grupo folklrico]?
KW: Anja
E: El siempre se ha operado, y mi mam es hipertensa y siempre tena la presin
alta, y siempre as, muy viejita. Actualmente tiene 89 aos. Muy mayor, muy may-
or. Y mi tio Marcos, como tomaba tanto, siempre estaba en la calle. Se quedaba
a dormir, se daba golpes, se caa, un carro le estrope una vez. Entonces, pen-
sabamos que una de estas tres personas poda estar la muerte porque yo lo estaba
bien hasta que hubieron vuelto, no se cerraba. Entonces empezamos a cuidar
estas tres personas. En el que menos pensamos queda mi hermano Jorge .. fue que
se muri a los tres meses justo. Me haban dicho, a los tres meses justo. Le cay
un aguacero, estaba tomado, se moj. Se fue para la casa y se acost . mojado, con
la ropa mojada, se tir en la cama y se qued dormido. Al otro da amaneci con
una fiebre fulminante, y no fue al mdico. Empez a tomar l mismo medicarse,
y no fue al mdico. Le cay una broncho-pulmona fulm-fulminante. A los dos
das muri. As fue rpido as, rpido. Lo que menos pensamos nosotros. (pausa)
A los tres meses. (pausa) Que la muerte de verdad estaba all, y era mi familia,
una de familia llevaron, mi hermano. Terrible, terrible el caso. Y me lo advirti.
Eso lo avisan los santos.
Chapter 2. All the Priests in the House: Defining Santera
Epigraph. My translation is based on santeros glosses and one possible Yoruba

back-translation (based on etymological reconstruction of a Lucum terms possible
Yoruba derivation) of the Lucum sections (with Spanish words in parentheses):
Mo jb (all the) m r (and) bbl, gbogbo wr k w il.
1. I am drawing upon Urbans theorization (2001) of metaculture as culture in-
terpreting other culture. In focusing attention on a particular strand of culture,
metaculture creates and recreates the cultural object of its attention. One of Urbans
key insights is that metacultural reflections determine which cultural forms persist
through time, in part by drawing attention to them and pointing out recognizable
instances of a type. He argues that metaculture, like culture, circulates in the world,
has a history and trajectory, and is reproduced through particular institutional
nodes.
2. See Silverstein (2003) for a similar point about how the sum of such character-
izations is a dynamic folk-interpretive framework through which we carve up our
world and charge each chunk with social value. (Silverstein coins the descriptive, if
unwieldy, term ethno-metapragmatics.)
3. A few examples include Alcaraz (2000), Argelles Mederos and Hodge Li-
monta (1991), Barnet (1995), Bolvar Arstegui (1994), Cabrera (1996), Canizares
(1993), Gonzlez-Whippler (1992), and Mestre (1996). It is illustrative to compare
these to actual manuals, such as the classic ones by the highly respected Havana
santero Nicols Angarica (n.d.a, n.d.b).
4. See examples listed in n.3 above and also more sophisticated and textured ac-
counts in Barnet (1995), Brandon (1993), James Figarola (1999), M. A. Mason (2002),
and Murphy (1994).
5. See especially Cuban folklorist Fernando Ortizs influential early discussion
(Bronfman 2002; Ortiz 1973/1906).
6. Magic usually appears as a modifier in Cuban scholarship to mark some
kinds of religious practices as magico-religious, with an implied comparison to
proper religions like church Catholicism or Protestantism that presumably are not
focused on possibilities of supernatural manipulation.
7. Where I am differentiating between matters Cuban and matters Yoruba I use
two different word forms: Oricha and Orisha. Oricha is the Cuban spelling and
pronunciation. Orisha is the English spelling, which is also closer to the Yoruba
spelling and pronunciation: r.
8. But see D. H. Browns historical analysis (2003) of how European images of
royalty have been incorporated into Santera ritual aesthetics at a number of levels.
9. On the ethnogenesis of the Yoruba, see Doortmont (1990), Kopytoff (1965),
Law (1997), and Peel (1989).
10. White, elite observers in the late nineteenth and early twentieth centuries
tended to lump all of this noninstitutionalized, folk religious activity together as an
undifferentiated mass of witchcraft and superstition (Ortiz 1995/1906; Urrutia y
Blanco 1882). They linked these religious practices with the largely black underclass,
even though it is likely that many whites and even white elites also participated (see
for example Barnet 1994: 27; Palmi 2002a: 19798, 337 n.60; Romn 2002).
11. I use popular in the Cuban sense meaning of the people, a widespread term
among Cuban scholars that captures the official socialist promotion of popular cul-
ture. The notion of popular religion is officially deployed to distinguish what the
Revolutionary State regards as valid forms of folk or popular culture from coun-
terrevolutionary religious institutionsnamely the Catholic Church, which clashed
with Fidel in the early days of the Revolution (Ayorinde 2004; Betto 1985; Kirk 1989;
Millet, Brea, and Ruiz Vila 1997: 5354).
12. Muertera has received very little scholarly attention, even within Cuba. To the
extent that a general description can be applied to this unformalized set of practices,
muerteros describe themselves as working with spirits of the dead, spirits that bear
affinities to those of Palo and Spiritism. Self-identified muerteros I met often en-
gaged in very similar practices of divination, card-reading, maintaining altars, and
sponsoring bembs to other practitioners of popular religions, as I describe below.
13. She also utilized ritual utterances she described as Haitian French under-
scoring the historical influence of Haitian immigrants on Santiagos religious cul-
ture, another topic sorely in need of scholarship.
14. See Prez Jr. (1995a, 1995b) on the history of Protestantism in Cuba and Kirk
(1989) and Betto (1985) on relations between the Catholic Church and the Revolu-
tion.
15. It would be quite difficult for a foreign researcher, especially one from the
United States, to get permission to do even a neighborhood survey of the sort that
ethnographers frequently do (which would need to be conducted with the consent
and cooperation of the neighborhood-level Comit en Defensa de la Revolucin
(CDR).
16. The researchers sampled 21 microregions of the neighborhood to build a rep-
resentative sample of 133 households (Millet et al. 1997: 28).
17. I avoid using social class because it is very problematic in the context of Cuba,
and in any case I do not have data that would allow me to make well-supported
class designations. Cuba had a class system prior to the Revolution, such that class
designations would have been strongly predictive of family income, economic sta-
tus, neighborhood, and access to privileges such as education and health care. The
Revolution has spent forty years dismantling the class system and officially speaking
insists that class has been abolished. Government policies have sought to decou-
ple variables such as family income, educational attainment, profession, and even
neighborhood from vestigial social class. Of course, remnants persist, especially in
how people view themselves and others. Certainly, Santiagueros (residents of San-
tiago) perceive that denizens of a neighborhood like Los Hoyos are poorer, blacker,
and less educated than those who live in other, formerly middle-class or upper-class
neighborhoods.
18. It is telling that these researchers, who are affiliated with the Casa del Caribe,
a center for cultural research in Santiago, would be met with suspicion. Although
the current climate has opened toward religion, some wariness obviously remains.
Although they do not specify what they sought, the researchers would have looked
for evidence such as bead necklaces and bracelets signifying different orichas, as
well as altars, statues of saints, or other religious objects. Such a methodology is
obviously problematic, not least in counting only what is seen, while saying noth-
ing about which household members are religious or what labels they would give to
their religiosity.
19. We can take these data as rough indications only: the sample sizes for some
groups were quite small, and the authors neither specify how they identified an
entire households race or educational level nor did they attempt any multivariate
analyses that would indicate the relative importance of these and other variables
examined.
20. One explanation for the dominance of santeros among applicants might be
that their ceremonies often require drumming and can also last several days. Both
features could serve to draw more attention from neighbors and officials, necessitat-
ing the trouble of getting licensed in lieu of conducting ceremonies quietly in hopes
that no one checks for licensure. See Ayorinde (2004) for a discussion of Cuban laws
controlling religious expression.
21. I do not have statistics for other religious traditions listed in table 2.1.
22. Arar is related to Santera and Vod, but is localized to western Cuba (Matan-
zas in particular).
23. For more information on If practices and continuities in West Africa and
Cuba see Abimbola (1976), Bascom (1969), Bolvar Arstegui (1996), D. H. Brown
(2003), Fuentes Guerra and Gmez (1994: 3963), Matibag (1997), and Otero
(2002).
24. Matibag (1996) also describes the use of shells in Palo divination. I can make
no claims about the directionality of any borrowing that occurred or whether the
two methods are a case of convergence of widespread divination techniques across
Africa (Peek 1991; Pemberton 2000).
25. Cuban scholars use Fernando Ortizs term transculturation to describe the
productive amalgam of European and African influences that characterizes Cuban
culture and Cuban national ideology (see Ortiz 1970/1947).
26. Excellent discussions of the general Latin American context include Rahier
(2003), Wade (2001), Williams (1991), and Wright (1990). For discussions of the Cu-
ban case, see Daniel (1995), C. Moore (1988), R. Moore (1997), and Palmi (2002b).
27. See Wedel (2004: 5356) for a description of links between Palo and witchcraft.
Cuban folklorist Ernesto Armin Linares described to me three sects of the Regla
de Palo: La Kimbisa, which works only for good; La Mayombe, which includes good
and evil rituals; and La Briyumba, which practices evil.
28. Houk (1995) describes similar spatial and temporal boundaries that religious
practitioners in Trinidad maintain between Spiritual Baptist, Orisha, Hindu, and
Kabbalah traditions, which many combine, while maintaining separate altars and
rituals for each.
29. See Johnsons 2002 study of Brazilian Candombl for a compelling account of
the role of what he calls secretism in African diasporic religionsan account that
generally matches my observations of Santera.
Chapter 3. Competing Histories and Dueling Moralities
1. Note that dialogicality does not imply cooperation or equality among voices, a
point made by Urban and Smith (1998).
2. The show was entitled Fifi Okkan: Pintura sobre la cabeza by Omar Enrique
Moya Moya.
3. Alternately, one could put a positive spin upon this historical consciousness and
read it as an emphasis upon preserving tradition, in Urbans sense of a metaculture of
tradition that prioritizes exact replication of religious culture (2001: 43, 83). I choose
to emphasize the struggle against loss because I situate sacred practice in relation to he-
gemonic processes that have, until very recently, forced practitioners underground.
4. If we were to trace the suspicious stance back further in time, I suspect that it
would resonate less with secular scientific beliefs and more with popular Catholic
notions of witchcraft and paganism. Catholicism had been a major tool of Spanish
cultural hegemony, although colonial-era attempts to replace African practices with
Catholicism were seldom successful. Here I merely pick up on evidence of the suspi-
cious stance as it was configured at the turn of the twentieth century.
5. In Spanish the phrase reads: Y no hay ro en Santiago? No hay hierbas? Y
entonces, por qu no se hace santo aqu? Millets consultants attribute the phrase to
Aurora Lamar, known as La China (2000: 112).
6. Matt Tomlinson (n.d.: 15758) examines the widespread phenomenon of nos-
talgia and distinguishes between nostalgic discourses highlighting loss of power and
discourses of moral decline. In the case of Santera, santeros link their concerns
about moral decline to efforts to preserve powerful ritual knowledge.
7. Vicente, ibay ibayen ton (rest in peace), passed away in 2001. The santeros
who gave me the news told me they were very sad to lose such a prominent santero
and palero, especially because he represented a storehouse of knowledge direct from
Reynerio. They did not see a clear descendent of this direct, ritual genealogical line
from Reynerio through Vicente.
8. Consider the following bemb songs as examples:
(1) Saca lo sombre pa fuera / A do a do
[Throw the men outside / Two by two]
(2) Omo patele / Omo patele / Omo patele pa Chang / Omo patele
[(No translation) / . . . / . . . for Chang / . . .]
Notice that these simple lyrics are largely in Spanish and that they border on the
nonsensical, which makes them distinct from Lucum songs, which have as their
matrix a garbled, half-remembered Lucum. Sometimes, as in example 2, singers
will convert the unintelligible lyrics into something similar sounding, like He ate
sweets (Comi pasteles) for Omo patele. It may be that Spanish lyrics like those
in example 1 arose that way, too. Other bemb songs seem to have Lucum lyrics and
so blur the lines and may more readily be accepted in Santera ceremonies:
(3) Mai mai sol / Ra koso / Mai mai sol / Pa Chang

Even in example 3, Emilio told me that people often sing maz (corn) for mai.
9. My translation of Ortizs original Spanish: La brujera es el caldo de cultivo
para el desarrollo del microbio criminoso contenido en la psiquis del brujo.
10. The metaphor of contagious culture is quite common in historical and con-
temporary accounts of the threats posed by diasporic Africans and African culture
(Borges 1993; Browning 1998; Graham 1990).
11. Fernndez Robaina (1994) and Helg (1995) forcefully argue this point, although
1912 did not quell ongoing Afro-Cuban political mobilizations by other means as de
la Fuente extensively documents.
12. Racial terminologies of mestizaje and mulataje have notoriously variable
meanings across Latin America. In Cuba, mestizaje primarily refers to African and
European hybridization. Elsewhere, mestizaje means the racial mixing of Europe-
ans and indigenous peoples, while the Cuban situation is described as mulataje
(Rahier 2003: 42, 4546).
13. De la Fuente points out that elite attempts to present a safely folklorized Afro-
Cuban presence in national culture were contested by at least some Afro-Cubans,
although Afro-Cuban elites largely concurred, being anxious to distance themselves
from the Afro-Cuban masses (2001: 18387, 15455).
14. Erwan Dianteill recounts the naming controversy between Ortiz and Lach-
ataer (1995: 4050). Lachataer attacked Ortizs use of the pejorative and overly
general term witchcraft, instead advocating Santera. Dianteill argues that each
claimed to take his preferential term from popular usage, but that both fell into
ethnocentric traps intrinsic to their different social positionsOrtiz as a member
of the white elite intelligentsia and Lachataer as a privileged mulatto intellectual
struggling for elite membership.
15. See Isabel Castellanos (1996) for an etymological account of the ethnonym
Lucum.
16. I am grateful to Licenciada Zoe Crem Ramos at the Centro Cultural Africano
Fernando Ortiz in Santiago de Cuba for the detailed biographical information on
Lachataer.
17. Lydia Cabreras introductions to El Monte (1993/1954) and Anag (1958) are
especially telling. She begins Anag by asserting her familiarity with Lucum speech
and thus her ability to gain her informants trust, but she also references her social
distance from her informants by referring to the folklore of our blacks (13).
18. Dianteill reproduces Ortizs article (1995: 13346), which originally appeared
in the July 1937 issue of the journal Ultra 3(13), 7786.
19. Recall the use of this term (iguoro) in the moyub invocation discussed in
chapter 2.
20. See Ayorinde (2004) for a useful history of the Revolutions evolving attitudes
and policies toward Afro-Cuban religions.
21. Daniel (1995) and Hagedorn (2001) also make this point.
22. For more on the special period and informal economy, see Fernandez (2000),
Henken (2000 and 2002), and other articles in the economic journal Cuba in Transi-
tion. Also see Palmi (2002a).
23. While the Revolution never outlawed religion, my consultants made clear that
it did marginalize religious practitioners and try to discourage young people from
being religiousby banning the initiation of children for example. See Ayorinde for
more on the Revolutions discouragement of religion (2004: 12532).
24. Interview with santero, audio tape 12, October 1999, Santiago de Cuba:
Hubo una poca anterior a mi iniciacin como santero en la cual aqu en Cuba
en mi pas, se practic el culto a los hombres . por sus ideas y por sus historias
y yo como todos los que pertenecen a mi generacin me asum a esa corriente
en creer en los hombres hasta un momento que dej de creer en los hombres,
y tuve la necesidad de buscar en quien creer. Y entonces llegu a esta religin.
Me gust, empec a creer en los dioses y aqu estoy.
25. Stephan Palmis field consultant in Havana used the evocative term santero
jinetero for someone who prostitutes their religion for cash (2002a).
26. Interview with Carmen and family, video recording 5, December 17, 1999,
Santiago de Cuba.
Chapter 4. From Skepticism to Faith: Narratives of Religious Experience

Epigraph. The Euripides quote came to my attention as an epigraph in Guthrie
(1993: 11).
1. Interview with Mayeya, audio tape 50, April 1, 2000, Santiago de Cuba.
2. He and others frequently related aspects of my personality and profession to
Obatal, and various ritual events such as divination results seemed to reinforce
their supposition that Obatal owns my head.
3. Critical reappraisals of Geertzs definition of religion, notably by Asad (1983),
have problematized his overly cognitive, ahistorical account of religious belief and
his somewhat mysterious orchestration of belief through symbols deployed in ritual.
The notion of religious experience, another presumably cognitive process, shares in
some of the thorny problems of belief. My path through the thicket is to focus on
performance, whether in ritual or in other more mundane interactions, because
what people say and do is directly accessible in a way internal mental states are not.
But people can and do represent their beliefs and experiences in discourse and act
upon them; they align themselves according to particular interpretations of events
and cite these interpretations to explain their choices, such as deciding to undergo
religious initiation (see Kirsch 2004; Pigg 1996).
4. I say this in full awareness that it has become almost de rigueur for ethnog-
raphies of African diasporic religions like Santera and Vod to adopt sacred as
well as secular-analytical metacultural stances toward their religious material, even
when the scholars do not profess to be religious practitioners. Hagedorn (2001: 16)
recounts a dream-visitation from the oricha Ogn in a brief personal vignette fol-
lowing her introduction. Murphy recounts his experience being possessed by the
oricha Chang (1988: 98), and K. M. Brown details her initiation into Vodou (1991:
31727). Even Palmi, who positions himself as merely a sympathetic student of
Afro-Cuban religion, opens his prologue by introducing his muerto, Toms, the
spirit of a nineteenth-century slave (2002b: 114). Such movement across multiple
stances and attention to polyvocality are of course in keeping with the reflexive turn
in writing anthropology (Clifford 1986; Marcus and Fischer 1986), and in particular
the recent calls for a dialogical anthropology that attends to cultures character as
dynamic, fluid, and emergent in interaction (Tedlock and Mannheim 1995; Yelving-
ton 2001: 20442). Moreover, as Trouillot points out, and as illustrated in the previ-
ous chapter, it is no easy matter to disentangle the scholarly and popular discursive
fields, particularly in the Caribbean (1992: 25).
5. Emilio, audio tape 1, October, 3, 1999, Santiago de Cuba:
Dentro de la Santera . se dicen pellizquitos de Ochn. Esos son pellizquitos
porque ella te hace una maldad para que tu reacciones. . . . Ochn dice as cu-
ando ella dice, t eres mi hijo. Tarde o temprano t tienes que hacer santo. . . .
siempre le pone [a sus hijos] trabajo, trabajo, trabajo hasta que hace el santo.
6. Interview with Rey, audio tape 5 October 12, 1999, Santiago de Cuba.
7. Excerpt from Emilios lecture to visiting folklore students, audio tape, January
7, 1998, Santiago de Cuba:
Yo . no cre en nadie, porque bueno, yo casi . me desarroll con el proceso revo-
lucionario, y al principio de la Revolucin, al principio de la Revolucin aqu,
la, la religin no era bien visado. Al principio, en el ambiente porque haba
problemas con la gente religiosa. Y yo como me inici, con el proceso de poco
a poco, no crea en la religin. Y ten-, tena una tradicin de familia religiosa
pero viv en una nueva generacin. No crea, era comunista. (ha-ha) No cre.
8. I am grateful to Susan Hardings excellent Book of Jerry Falwell (2000) for
bringing this James passage to my attention.
9. Emilio, audio tape, June 18, 1998, Santiago de Cuba. Bold type indicates em-
phasis; em dashes indicate no break between phrases, and a forward slash mark (/)
indicates finger taps on the table:
(Section A) Pero, eh, yo confront un problema de que cuando empec a
viajar en el extranjero, los ladrones me perseguan muchome perseguan
mucho. Y siempre yo estaba, siempre se me perdan cosasse me perdan
cosas, me robabanme robaban. (Section B) Y la polica . encontraba los
ladrones pero no poda sancionarlos, ni lo poda hacer nada, porque (2-
second pause) nada. (Section C) Y entonces, yo empec a consultarme, y
era que Ochn me estaba pidiendo la cabeza, se dice as. Y que hasta que yo
no hiciera santo, no iban, no iban a parar los rbos. (Section D) Y yo no lo
cre, estuve como cinco o seis aos en eso, y eran robndome, robndome,
robndome, robndome. (Section E) Hasta que me dieron una prueba final,
que me dijeron, Si no haces santo . en el prximo viaje que tenga lo vas a
perder todo. . . . As me dijeron, lo vas a perder todo. (Section F) Y yo no lo
hice as. Yo voy a hacerme santo, no se preocupe padrino, porque entonces yo
le deca ya al padrino. No, yo voy a hacer santo. Pero, . ptch .. vino el viaje, y
se me olvid y no hice nada. (Section G) Y como a los cinco meses me llovar-,
me llevaron todo, todo, lo perd todo, todo, todo, todo. Todo, todo, todo,
todo. Me dejaron una casa vaca. (Section H) (2-second pause, table drum-
ming: // /// // // /// //). Y tuve que hacer santo por ese problema. (Section I)
Mira, a partir de all nada no sucedi nada ms, no? As. Y todo me ha ido
muy bien.
10. Indeed, on other occasions, he pointed out to me signs that an oricha was
claiming my head for initiation. One particularly dramatic little pinch he noted
occurred a few days after a divination in which I had received a very bad sign relat-
ing to my travel plans. Emilio accompanied me to the airport for my departure and
so witnessed my astonishment when the airline clerk informed me that my flight
off-island had been precipitously canceled. There was no information about when
the flight might be rescheduled, and I was told that I should come back in a few days,
maybe. To my supreme annoyance at the time, Emilios face was almost gleeful as
he declared this a proof of the divination results and therefore a sign of an oricha
making trouble for me.
11. Note, however, that a fracture line runs through current studies of religious
experience, largely separating psychologists and neurologists who focus on the phe-
nomenological angle of religious experience from anthropologists who are more
likely to study its interpretive or epistemic angle.
12. Schleiermacher was a German philosopher at the turn of the nineteenth cen-
tury who wrote On Religion (1799). James was an American psychologist at the turn
of the twentieth century whose Varieties of Religious Experience (1922/1902) stands
as the cornerstone of the literature on the psychology of religion. Both imbued their
definitions of religious experience with European Christian traditions of mysticism
and individual contemplation.
13. See H. Burhenn for excerpts from Friedrich Schleiermacher and Rudolf Otto
(1995: 14647).
14. This stance is evident in everything from neurological studies of perception
and cognition (Azari et al. 2001) to historiographic arguments about the inherent
structure of historical events (Carr 1986) to the insights of Sapir and Whorf s lin-
guistic relativity hypothesis about how language organizes thought (Boas 1889; Lucy
1992a, 1992b; Sapir 1949/1921; Whorf 1997/1956).
15. See reviews in Hood (1995), Hood et al. (1996), and Newberg et al. (2001).
16. Newberg and coauthors describe four related transcendent states, which
they distinguish according to autonomic nervous system arousal: hyperarousal, hy-

perquiescence, or either one with breakthrough of the other. Briefly explained, our
autonomic nervous system, operating largely below any level of conscious awareness
or control, contains two pathways, the sympathetic and parasympathetic. These co-
ordinate a wide range of bodily functions, with the sympathetic pathway stimulating
organs and blood flow to contribute to alert activity (e.g. increased heart rate) and
the parasympathetic pathway stimulating more vegetative activities, such as diges-
tion. These two pathways usually operate with negative feedback, so that the arousal
of the sympathetic pathways inhibits arousal of the parasympathetic pathways, and
vice versa. Under certain conditions, however, both systems can be simultaneously
aroused, and the sensations correspond variously to mystical bliss, flow state, ec-
static trance, or oceanic tranquility (2001: 4042). The researchers also looked at
prefrontal lobe and limbic system activity that they postulate involves distinct cogni-
tive elements of spatial orientation, emotion, attention, and abstract verbal concep-
tualization to produce mystic states (2732).
17. This evocative tendency of some discourse and the action to organize what
follows it is what Mattingly, following Ricoeur, calls emplotment (1998). She de-
scribes how clinical encounters between occupational therapists and their clients are
subject to emplotment, both because of the ritualized structure of such encounters
and because of efforts by one or both parties to organize the encounter according to
a guiding narrative. Whenever the therapist or the patient is working toward some
outcome or seeking to elicit a particular conversational direction, emplotment is
at work. Not surprisingly, Mattingly looks to ritual as a metaphor for the clinical
encounter, in that both promote a telos and lend themselves to narrativization. That
is, rituals may be emergent storiesVictor Turners social dramasthat unfold
according to well-established tropes of interaction (1974).
18. Rituals are at the highly entextualized and entextualizable end of a spectrum
of human interaction (Bauman and Briggs 1990; Kuipers 1990; Silverstein and Urban
1996). That is, the degree and density of internal structuring in rituals makes them
recognizable as chunks to be transmitted whole. Ritual performances additionally
may create events worth telling stories about (Mattingly 1998: 162), in part because
of their capacity to envelop bodies and senses in heightened, multisensory expe-
rience or to delineate temporal and spatial boundaries that set them apart from
ordinary events (Bell 1997: 160; Bloch 1974).
19. Santeros normative understanding of rituals as communication coincides
with anthropological definitions of ritual that focus on its performative and com-
municative functions (Rappaport 1999; Robbins 2001).
20. Rituals encourage participants to interact according to particular structures
of participation, at least for the duration of the ritual activity. For example, tambor
(drumming) rituals encourage participants to adopt a sacred stance to interpret the
behavior of those who fall into trance as being possessed by an oricha. Occupying a
stance temporarily but repeatedly serves as a mode of learning and thus can poten-
tially move a person toward more readily transferring that stance to other situations
and even adopting it as a long-term, stable way of being in the world.
21. Santera emphasizes authorization over inspiration, and mediumship is a
matter of inspiration. This means that it would violate the canons of hierarchy in
Santera by promoting a more charismatic style of authority that is anathema to the
rules of seniority and authorization regulating the Santera community.
Chapter 5. Skepticism in Faith: Evaluating Religious Experiences in Rituals
1. Robbins (2001), developing Rappaports thesis (1999), suggests that rituals

are fundamentally communicative events, in which certain kinds of messages are
conveyed in semiotically dense ways that bypass mere denotation. The ambiguities,
indeterminacies, and unintelligibilities so common to rituals require explanation
not as breakdowns in communication, but as necessary components of how ritual
communication occurs, as Malinowski first pointed out (1966/1935, 2: 218). Trawick
(1988) argues that ambiguities intrigue people and encourage them to continue to
circulate the texts, both by duplicating the originals and by reentextualizing them
in exegeses whose open-endedness makes them endlessly adaptable to new contexts
and new situations (see also Wirtz 2005).
2. Conversation with ritual singer (Desi) and Emilio, audio tape 46, March 25,
2000, Santiago de Cuba.
Desi: Porque hay veces los tamboreros que salen con un toque .. y te estn pro-
bando. Te estn probando para ver si hay conocimiento. Ellos te salen kum-
kum-ba! Tun-ba, bi-bi Tun ba, bi-bi! Y t debes saber que eso es el rezo de
Eleggua, que te estn tocando la entrada para que t le cantes a Eleggua. Yo
puedo ir ahora a La Habana y si me quieren probar all, algunos tamboreros
Emilio: [Que eso se lo hacen
KW: [Ha-ha. Entonces, ?no es verdad que los cantantes tambin hacen
pruebas a los bail
D: A los tocadores?
KW: A los tocadores, y a los santeros que vienen a bailar?
[Porque Emilio me ha contado unas historias
E: [ha-ha
D: S, s. En la religin, ms bien todo es una competencia. La religin es una
competencia de: , y en realidad una competencia favorable. Porque es una
ayuda para mi que yo descubra que hay tantos cantos all que yo no s. Que a
tocarme algo que yo no s ya me preocupo por eso, y aprendo, y debo apren-
der esa cosa.
3. Conversation with ritual singer (Desi) and Emilio continued. (See n.2 above.)
D: El trabajo del cantante es . hacerle saber al santo lo que, pedirlo que t
quieres al santo, y a travs de tu conocimiento, de tu conocimiento, tratar de:

darse cuenta si est el santo en realidad o no est. Porque puede dar un santo,
pero algunos llegan y no est el santo. Eso tambin ocurre en la religin.
E: Qu fin tiene eso?
D: Hacen muchas cosas. Entonces
E: El santero tiene que comprobar lo que dice, tiene que comprobar si es
verdad que hay un santo o no
KW: Y cmo se, se sabe?
E: A travs de los tratados [de ese
D: [de los tratados.
4. Conversation with ritual singer (Desi) and Emilio continued. (See n.2 above.)
D: Porque bueno, ah: , .. el santo .. y el santo puede tener eh: un plato de miel,
y decirle al santo iyalode, que quiere, gran seora, iyalode, gran seora. Wole
die mi, que me escuche. Emi ni eyeumo ni, yo le estoy pidiendo que me es-
cuche a m como cantante, y que quiero comer miel, o tomar miel. Y l no me
da esa miel, no est el santo.
5. Bat drums can undergo initiation ceremonies much like those santeros go
through, in which they are dedicated to the oricha Aa (Ayan) and receive a secret
that is placed inside them. Only a few sets of drums are consecrated in this way, and
only drummers who undergo their own ceremony to Aa and become omo aa
may play these drums, which also require other kinds of special treatment.
6. Ay Aranl is a Lucum phrase that can be translated from Yoruba to mean
the world of great beings, or heaven. Most santeros would not be able to give this
translation. Many know that orun (song) is a Lucum word derived from the Yoruba
orin, also meaning song.
7. The Spanish part of the song says, I am alone, what are we going to do for you.
8. And, indeed, I follow Kirsch (2004) in rejecting an understanding of beliefs as
(unknowable) internal states (also see Palmer et al. 2005)
9. See Isabel Castellanos (1990), Ortiz Lpez (1998), Schwegler (2006), and Wirtz
(2005) for further discussion of bozal in contemporary Cuban speech.
10. Germn: Yemay, yo soy yo soy religioso, pero as no puede seguir cantando,
porque la gente me tiene que ayudar. No puede seguir cantando. Estamos con los
tambores de fundamento.
Chapter 6. Respecting the Religion, Advancing in the Religion
1. M. at her don de gracias, authors field journal 8 (pp. 1011), March 10, 2000,
Santiago de Cuba.
2. As commentators on the Gluckman-Paine debate have pointed out, there is
likely truth in both positions, not least because gossip is a complex and highly am-
bivalent social practiceor rather, a set of social practices that may take different
forms in different settings (Stewart and Strathern 2004).
3. While most of this section remains unintelligible to me, whether as Lucum or

as Yoruba, Mauras reply seems likely to be derived from the Yoruba salutation, A
k yin, meaning We greet you (plural).
4. Other santeros spell out the sign for eight variously as iyonle or elliunle.
5. Without getting mired in all the complexities, suffice to say that each of the
16 possible numbers, from one to all sixteen cowries face up, is considered either a
major or a junior sign. Generally speaking, the eleven major signs call for the
left hand, and the five junior signs call for a second throw and then generally for the
right hand.
6. To be strictly accurate, some of the signs are dead ends, cutting down on the
possibilities somewhat. For example, signs for 12 to 16 cowries landing face up are
automatic referrals to babalawos, who use the even more complex If system of
divination.
7. Alberto: . . . donde dice Eleggua, Ir, arik, moyale. Dice Elegba que trae
ir con Iroso, y el arik lo trae con Odd Obbara . y moyare Ojuani Odd.
Dice Eleggua que Ud. naci para cabeza. Que Ud. naci para una gente in-
telectual, una gente inteligente, una gente capaz de . profundizar cualquier
sabidura, o preocupaciones por saber no es verdad? Tu inters propio no?
en como llegar a la cosa para despues que se conozca todo el paso que qui-
era dar ya no tiene . duda verdad? Porque ya aprendido y ya tiene el paso
determinado para el da de maana que Ud. acepte el santo, ya t sabe todo
el manejo no el secreto pero sabe ya por donde defenderte para el da de
maana.
8. Alberto: Ah es donde, ah es donde Santa Brbara bendita, Chang le ponen
cabeza. Para que? Cabeza para que piense, cabeza para que analice y ob-
selve. O sea muy observadora dentro de todo lo que t te relaciona dentro del
campo espiritual y el campo santorial que f es la que te puede (1 second) eh ..
ir. Me refiero por ejemplo, t tiene tus mayores, tiene tus padrinos verdad?
Y hasta ahora ellos te han hecho algo que t has visto resultado?
9. Maura: El motivo por qu? S t tienes que darte paso, pero por qu? Que
este paso te va a traer la vida, te traer prosperidad, no? Pero aqu dice Eleg-
gua que Ud. naci para ser rey, Ud. naci para buscar dinero, Ud. naci para
buscar desenvolvimiento y ms que desenvolvimiento.
10. Alberto: Pero dice Chang que por tu propio mano, con santo hecho Ud.
puede resolver muchas cosas en la vida.
Maura: Y tiene conocimiento.
Alberto: Y tiene conocimiento por qu? Porque t puede traer gente de all
para ac y puede aumentar tu presupuesto de dinero. No es que t va a hacer
negocio, es que Chang te va a poner esa evolucin en tu mano.
11. The derivation of moyub is clearly the Yoruba phrase mo jb: I + give
homage. In Lucum, the first-person declaration has been generalized to mean give
homage. Indeed, the phrase is one of the few from Yoruba to have been lexified
and hispanicized into a regular -ar verb that follows Spanish rules of conjugation
and nominalization: moyubar = to pay homage; moyubacin = the act of saying the
moyub; moyubando = doing the moyub, and so on.
12. The polarity of hot and cold in Santera is an example of a broad metaphysical
principle across parts of West Africa and its diaspora, in which coolness is necessary
for ritual efficacy (Abrahams 1977; Laguerre 1987; Voeks 1995).
13. The Lucum tilla tilla may derive from the Yoruba ideophone tiya tiya, mean-
ing fiasco or failure.
14. My Cuban transcriber, who was not at all involved in Santera, did not seg-
ment the Spanish word todo (all), abbreviated as to out of Albertos repeated
phrase to eggn. She treated the entire unit as unintelligible Lucum.
15. One possible Yoruba derivation is b ay, b yin t run, meaning homage
to the world, homage to you (plural) of heaven. The verb derivation, b, to give
homage, seems likely. The lexeme onu appears in other contexts in Lucum, where
it also seems likely to derive from run, heaven. (Thanks to Dr. Yiwla Awoyale, of
the Linguistic Data Consortium at the University of Pennsylvania whose help was
instrumental in deciphering possible Yoruba derivations of this and other Lucum
phrases.)
16. A likely derivation of kinkamach in Yoruba is k ik m e!, meaning
may death not get you (literally that death not act). Note that the word meaning
death, ik, is identical in Yoruba and Lucum, but in this phrase, with its changed
pronunciation and collapsed segmentation, ik is not recognizable.
17. Ochareo may derive from a Yoruba invocatory exclamation, , ir o,
which addresses an oricha to call for good fortune: oricha, goodness!
Chapter 7. Building a Moral Community out of Critique and Controversy
1. Santera was established in Santiago much later than in its Cuban birthplaces
of Matanzas and Havana. The oral history of Santeras arrival in the city is discussed
in chapter 3.
2. When, inevitably, some godparents and godchildren have fallings out, other
santeros regard these conflicts as especially problematic and are quick to blame the
godchild for a lack of respect. Santeros frequently admonish their own and others
godchildren to respect their elders, especially their godparents.
3. For extensive descriptions of the rituals of initiation in Santera, see Mason
(2002: 5783) and Cabrera (1996: 128234). See also video recordings of initiation
rituals by Gleason and Mereghetti (1992) and Drufovka and Stanford (1996).
4. This Lucum word is equivalent to yw, wife in Yoruba. The valences of
becoming like a wife to ones principal oricha are discussed below.
5. For gorgeous examples of these initiation outfits, see Flores-Pea and Evan-
chuck (1994) and D. H. Brown (2003).
6. Although Cuban santeros use It to mean the special divination done on this
day of initiation, the Lucum word likely derives from Yoruba eta (three) or mta
(third), referring to the third day of the sequence.
7. D. H. Brown provides a detailed explanation of rituals for higher degrees of
initiation, such as pinaldo, and the controversies surrounding them (2003: 10911,
333 n.182, n.184).
8. Conversation with Emilio, audio tapes 2 and 4, October 11, 1999, Santiago de
Cuba. The entire dialogue in its original Spanish follows.
1 Emilio: En primer trmino, no me gust que el mismo padrino fuera el
italero de la ceremonia.
2 Yo lo respeto mucho porque l tiene mucho conocimiento, muchos aos
de experiencia . pero para mi, para mieso despus lo vamos a comprobar
con otros santeros(KW: S)para mi es una violacin.
3 Porque el testigo tiene que ser una persona que certifique, que ese individ-
uo se inici en la religin. Entonces si todos son ahijados de l, a lo mejor
por cubripor tapar a su padrino, pueden decir, no, todo estuvo bin,
no hubo ningn problema. O sea que cuando hay un testigo, ese testigo
advierte, esto se est haciendo mal, esto no es as, esto tenemos que hacerlo
as. El testigo puede decirlo.
4 Kristina: Pero estuviste uno de los testigos
5 E: Quin, yo?
6 KW: Para dos, s, dos das
7 E: Pero no fui, yo no fui invitado
8 KW: Ah!
9 E: Yo no estaba levantado como santero, para trabajar all
10 KW: Anja
11 E: Yo no estaba, porque si se me levanta hay que poner, esa es otra cosa que
te voy a decir ahora. Hay que ir delante de mi Ochn, pedirle permiso a
mi Ochn. O sea, mis santos y entonces depositar un derecho, para que yo
pueda ir a esa ceremonia.
12 KW: Anja
13 E: Yo particip pero como amigo
14 O sea que pudimos ver (1 second) que hubo algunas violaciones. Esa es la
segunda, o sea que no haban muchos testigos.
9. See D. H. Brown (2003: 94) for an example of the lengths to which santeros and
babalawos may go to ensure that their initiations are regarded as legitimate.
10. 15 E: No particip . . . No s cmo se haran las misas.
16 O sea, el ebb de entrada, no s cmo fue..
17 No puedo dar opinion porque .. no estabamos all.
18 KW: Hmm
19 E: Pero parece que fue correcto (1.5 seconds) Por qu? ..
20 Porque de todas formas cuando el santo no est sienno est saliendo

bien, el muerto se para,
21 no permite que continuen la ceremonia, provoca cualquier accidente,
22 cualquier incidente, y no permite que se- que se- que siga la ceremonia.
23 KW: Uhm-hm
24 E: Por eso es que yo digo que todo l tiene que haberlo explicado muy
bien.
11. 25 E: Porque, bueno, en niny yo mir, siempre estaba pendiente al caracol.
26 Yo siempre mir el caracol para ver si .. si estaba dando bien,
27 y el caracol s dijo todo lo que l plante es verdad, lo deca el caracol. .
28 todo lo que l plante lo deca el caracol. .
29 no vi ninguna .. ningn problema de .
30 KW: Es decir que casi todo fue ir?
31 E: Ir
32 KW: Anja
33 E: Y sin osogbo..Sin osogbo son las letras malas que te dan.
12. 34 E: o sea que parece .. o que los santos de l estn (ha-ha) acostumbrados
(ha-ha) a trabajar as ya.
35 O que, l ha planteado muy bien su cosa.
36 O prepar muy bien su casa para que no haya ningn problema.
37 Porque esa es otra cosa, el santero tiene que saber preparar su casa, para
que no haya problema a la hora del santo.
13. 38 E: Bien, viste una ceremonia .. que: no es habitual . que se vea
39 KW: Anja
40 E: que es el angareo. Yo no te habl nunca de esto.
41 KW: Hmm
42 E: Nunca te habl del angareo porque eso es una ceremonia secreta.
43 Pero bueno, ya que la viste te la tengo que decir.
14. 44 KW: Y: ah, .. ah . Estabas ahm, ah .. sorprendido que me permitieron . ver?
45 E: S, s, s, s, porque eso no: -
46 Bueno, es que nosotros tenemos buena relacin de amistad
47 y l sabe que en defini
48 l piensa, no es que el sabe.
49 l piensa que en definitiva tu vas a hacer santo.
50 l ti(ha-ha-ha) tu vite diste cuenta?
51 l cree que tu vas a hacer santo porque yo le dije,
52 No ella es ahijada ma.
53 KW: Anja
54 E: Entonces l tiene eso metido en la cabeza y sali.
55 No lo viste?
15. Interviews with Emilio and senior santeras, audio tapes 41, 45, 4850, March 21
and March 27, 2000, Santiago de Cuba.
16. I have changed trivial details of the event to protect the identities of those
involved, while striving to stay true to the underlying dynamics of the situation. The
event occurred early in 2000 in Santiago de Cuba.
17. For Cuban and comparative perspectives on the deity Olorun, see Bolvar
Arstegui (1990: 6669) and Daz Fabelo (1960).
18. The relevant excerpt of the original transcript follows, in which lined up
brackets indicate overlapping speech (It recording, audio tapes 43 and 44, early
2000, Santiago de Cuba).
1 Oriat: Uds. saben que se permite cuando es familiar en santo, mientras
tanto no puede ser. (16-second pause)
2 Uds. tienen que aprender seores, si Uds no aprenden
[(cant be heard)
3 Santero: [No, Juana lo sabe. Juana sabe. Lo que pasa que ella
[le respeta
4 Oriat: [Pero el respeto no impide el ubicar las cosas como son
[(cant be heard)
5 Male voice: [(cant be heard)
6 Santera 2: S, pero el problema
[(cant be heard)
7 Many voices: [(cant be heard)
8 Male voice: [Uds. saben quien tiene la culpa
9 Oriat: Nosotros los santeros no podemos entrar al cuarto de Orunmila a
buscar nada
10 Female voice: As sea
11 Oriat: Por tanto el cuarto de santo hay que respetarlo.
12 (11-second sound of cowries, then Oriat resumes speaking in Lucum, in-
voking Eleggua)
19. 1 Oriat: Pero mira, gracias a Dios y a Eleggua y a to los santos.
2 Gracias a Dios, a Eleggua, y a todos los santos que yo me fui,
3 porque todas las atrocidades que dicen que se hicieron aqu, vaya haba que
sacar un revolver y matarme.
4 Haba que sacar un revolver y matarme,
5 porque yo eso no lo entiendo y no quiero hablar ms
6 para que la gente no se ofenda.
20. Santeros interpretation of It, CD 31 (track 9), April 6, 2000, Santiago de Cuba.
21. Padrino: Es para Eleggua: se sabe que hay una situacin pero no hay nada que
(too quiet to hear) que quiere pasar por el If, el iyaw. Si lo permite, l pasa, si no
lo permite, no pasa.
22. Oriat: Ahi est ib. Esto dice que s, mralo, eso dice que s, (unclear) eso dice
que no.
23. Oriat: No lo digo yo, lo dijo Eleggua, claro? Y jamateando(?) por sus ma-
nos. Ud. hace lo que Ud. entienda con eso, eh! Con eso que to ba binu con Olofi,
Ochareo!
Chapter 8. Conclusion: The Promise
Epigraph. Song lyrics from Tropicana Nightclub Web site <http: //members.tripod.
com/TropicanaNightclub/babalu.html>, and Babalu: Desi Arnaz and his Orchestra,
Audio CD, released June 4, 1996, RCA. See Isabel Castellanos (1983) for an account
of Afro-Cuban religious motifs in Cuban popular music, including Babal.
1. Although often referred to as Que Viva Chang, the songs actual title is A
Santa Brbara.
2. Some important scholarly sources include Argelles Mederos and Hodge Li-
monta (1991), Barnet (1995), Bolvar Arstegui (1994), Brandon (1993), Castellanos
and Castellanos (1988), Fernndez Robaina (1997), Hagedorn (2001), James Figarola
(1999), Lachataer (1992), Murphy (1994), and Palmi (2002b). Especially interest-
ing santero-scholar accounts include Canizares (1993), Gonzlez-Whippler (1992),
M. Mason (2002), J. Mason (1985, 1992), and Pedroso (1995). Actual manuals include
Angarica (n.d.a, n.d.b), Cabrera (1996), Mestre (1996), and Valds Garriz (1991).
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Index 243
Index
Abaku, 65 Ayorinde, Christine, 2728, 29, 21213n11,

Ach energy, 84, 203; activation of, 17677; of 214n20, 216n20, 217n23
religious experience, 10, 99, 119, 163, 224n17
African Americans, politics of identity, 28 Babalawos, xix, 72, 168, 19697, 196f; orichas
African dances, drums and music for, 8 of, 188, 194; position in ritual hierarchy,
African influences, 31t, 40, 41, 46, 47, 214n25; 174, 174f; santeros and, 2829, 38, 18694,
Congo deity and, 31t, 36, 43, 43f; Cuban 19697
national identity and, 5253, 64; perception Babalochas (contraction). See Babalorichas
of, 42, 62, 68. See also Yoruba Babalorichas, position in ritual hierarchy,
African spirits, 29, 31t, 32, 33, 37f 174, 174f
Afro-Cuban areas, xix, xx, 49; cultural forms Babal (song), 19899, 201, 228
of, and national identity, 19, 25, 27, 64, Babal Ay, 19899, 200201
214n25; religion in, 2628, 3435, 214nn19 Bakhtin, Mikhail, 210n5
20; ritual and public health in, 51, 7071; Bantu religious practices. See Palo
suspicion of, 61, 199 Barber, Karin, 28, 36
Afrocubanismo, 64 Barth, Fredrik, xix, xi
Agha, Asif, 4, 14, 19, 50 Bat drums: consecration of, 57f, 109, 129,
Aleyos, 173, 174f, 175, 176, 183, 186 222n5; drumming with, 8, 57f, 58, 105,
Anag (Cabrera), 69, 216n17 10910, 222n5; rhythms of, 8, 105
Ancestors, orichas and, 17475, 174f Bauman, Richard, 45, 220n18
Angarica, Nicols, 6566, 6870, 78, 212n3 Bembs, 167, 203; drumming in, 58, 213n12;
Animal sacrifice, 2, 176, 179, 187, 189 Spanish songs in, 5859, 117, 121, 2156n8;
Anthropology: linguistic, and rituals, 45; types of, 10910, 111, 129 (see also Tambo-
museums of, 6465; phenomenological vs. res)
interpretive approaches in, 6, 219n11; strad- Benin, pre-Yoruba people in, 29
dling metacultural stances in, 82, 21718n4 Bhabha, Homi, 50
Arar, 36, 214n22 Black magic, as folklore, 6366
Aray. See Osogbo Black witches, 60, 6263, 68, 200
Argelles Mederos, Anibal, 30, 35, 36, 59, 71, Boundary-maintaining practices, 27, 43,
212n3 4448, 214n28
Argyriadis, Kali, 30, 42 Bozal speech, 4748, 12122, 199, 222n9
Arnaz, Desi, signature song of, 198201 Brandon, George, 28, 29, 59, 212n4
Asad, Talal, 217n3 Brenneis, Donald, 139
244 Index
Briggs, Charles, 45, 154, 220n18 Collective effervescence, product of, 14

Bronfman, Alejandra, 60, 62, 64, 212n5 Collective invocation for individual aid,
Brown, David, 26, 29, 30, 38, 138, 174, 212n8, 15464, 16566
214n23, 224n5, 225n7, 225n9 Comaroff, Jean, xi
Brujera. See Palo; Witchcraft Comaroff, John, xi
Comit en Defensa de la Revolucin (CDR),
Cabrera, Lydia, 29, 64, 6567, 69, 212n3, data collection and, 213n15
216n17, 224n3 Commercialization, folkloric ceremonies and,
Casa del Caribe, research methods of, 34, 75, 7677
21314n18 Congo deity, 31t, 36, 43, 43f
Casco Histrico neighborhood, Santiago, xix, Congo heritage, 5253
xviiif Conversion experiences: evangelical Chris-
Castellanos, Isabel, 29, 123, 198, 216n15, 222n9, tianity and, 84, 8688; patterns of speech
228 in, 84, 86, 8889, 91; Santera and, 8384,
Castro, Fidel, 27, 213n11 8595
Catholic Church, traditional, 39, 150, 200, Cosmovision (cosmic order), 82, 217n3
21213n11, 213n14 Court orichas, Day of It and, 17273
Catholicism, 215n4; folk, 30, 33, 41, 21213n11; Cowrie shells: ach energy in, 17677; divina-
syncretism of, and Yoruba, 2627, 29, 31t tion role of, 6, 8, 17, 38, 56, 100, 143, 14447,
CDR. See Comit en Defensa de la Revolu- 160, 16263, 162f, 223nn46; Day of It and,
cin (CDR) 17273, 17677, 181, 187; interpretation of,
Centro de Investigaciones Pscologicas y 81, 14750, 15354, 181, 18889, 191
Sociolgicas, 33, 34 Csordas, Thomas, 88
Ceremonies, 45, 67; conducted by ritual fami- Cuba, xviif, 200; dance in, 8, 49, 82, 11314,
lies, 15, 16, 172; drumming in, 36, 214n20; 114f, 116, 117, 199, 2067, 207f; music and
folkloric commercialization of, 75, 7677; literature in, 47, 76, 19899, 200; national
initiations, 170, 17273, 224nn35, 225n6; folklore and ideology in, xx, 25, 27, 41, 70,
sacred spaces for, 5051, 18990; secret tra- 214n25; plantation society and slavery in,
ditions and, 18283, 191. See also Bembs; 29, 4647, 52, 59, 74; racial influences in,
Matanza; Tambores; specific ceremonies 2728; religious affiliation, 29, 31t, 33, 3435
Chang, 55, 57f, 172, 218n4; cowries and divi- political history of: colonial era in, 59, 61,
nation for, 17677; individual consultation 62; Republic, First, 59, 6063; Republic,
and, 150, 154; song treatments for, 120, 199, Second, 66, 70; Revolution, 6970, 71,
200, 228n1 7274, 78, 86, 205, 21213n11, 213nn1415
Chinese-Cubans, Santiago: religious affilia- Cuban Americans, politics of identity, 28
tion, 34, 214n19 Cubanidad (national identity), 63; cultural
Christianity, 28; becoming born again, 84, forms of, and Afro-Cuban areas, 19, 25, 27,
8788; institutionalized, widespread in 214n25; Santera as folkloric heritage of, 25,
Cuba, 33, 213n14; witnessing with religious 51, 5253, 64
speech, 86, 8889 Cunino, prominence of, 54
Clifford, James, 50, 218n4
Coconut shells: divination role of, 8, 3839, Daniel, Yvonne, 199, 217n21
100, 143, 15556, 214n24; tambor divination Darwin, Charles, xi
with, 11112; water cup from, 156, 224n12 Day of It, 17273, 17677, 181, 187, 225n6
Index 245
Death, joining ones ancestors after, 174, 174f Eliade, Mircea, 95

Deep Cuba, spirits of the dead in, 36 El Monte (Cabrera), 64, 69
Deities. See God; Orichas Entextualization, rituals as, 45, 210n4,
De la Fuente, Alejandro, 59, 61, 62, 63, 64, 70, 220n18, 221n1
216n11, 216n13 Epidemics, 50, 62, 70, 71
De Quirs, Bernaldo, 60 Ethnographic data: collection of, xx, 34,
Derecho payments, 170, 178, 179 7677, 144, 168, 177, 209nn45, 213n15;
Dianteill, Erwan, 29, 30, 60, 61, 66, 69, 174, labels and ideological weight in, 28, 65. See
216n14, 216n18 also Religious ethnography
Dios Supremo. See God European influences, 31t, 40, 4142, 214n25
Distrito Jos Mart neighborhood, Santiago, Evans-Pritchard, E. E., 18
xviiif, xix
Divination, 14344, 203; babalawos in, 28, Faith, 2, 3, 9, 10431, 205
38, 143, 223n6; as communication type, Family in the saint, 167, 168, 171, 176, 224n2
100102, 100f; voice of orichas, 100, Farnell, Brenda, 209nn45
142, 177; voice of saints, 15, 18, 38, 187, Feast days, 55, 56f, 57ff, 76, 200
191, 196f; results of, 17, 14243, 163, 177; Fernndez Robaina, Toms, 61, 63, 216n11
rituals of, 7, 203; cards in, 39; coconut Ferrer, Ada, 59, 60
shells in, 8, 3839, 100, 11112, 143, 15556, Folklore: Afro-Cuban, 50, 6063, 199; black
214n24, 224n12; cowrie shells in, 6, 8, 17, magic as, 6366; Santera as, 25, 51, 5253,
38, 56, 100, 143, 14447, 160, 16263, 162f, 7577, 78
223nn46; If, 100, 143, 223n6; jars Folklorists, 74; Fernando Ortiz, 6063, 6466,
of water in, 39 (see also It divination); 6769; Lydia Cabrera, 64, 6566, 67, 69;
santeros and, 4, 9, 17, 143, 15556, 162f, 163; Nicols Angarica, 6566, 6869; religious
signs of, 14447; bad, 12, 11, 14, 155, 177, consultants, xix, xx, 9, 66, 2067; Rmulo
181, 190, 196, 196f, 219n10; good, 156, 181; Lachataer, 30, 64, 6667, 216n14
portentous pattern, 99 Funerary rites, 168
Divine communication: proof of, 81, 2045,
2056; santeros and, 15355, 153f; types of, Geertz, Clifford, 7, 82, 217n3
in Santera, 8384, 99102, 100f, 218n4 Germn (tambor singer): comeuppance of,
Divine sanctions, 13740, 144, 15052 12124, 125, 12629; criticism of, 7677, 107,
Drumming, 57f, 111; with bat drums, 8, 57f, 117, 126; engagement of, 111, 11314, 114f, 115,
58, 105, 109, 222n5; ceremonies and, 36, 58, 11617, 116f, 12021
112, 213n12, 214n20 Gluckman, Max, 139, 222n2
Du Bois, John, 147, 183 Goats, sacrifice of, 187
Durkheim, Emile, xiii, xiv, 14, 95 God, 31t, 36, 174f
Godchildren, 17475, 18084, 195
Eggn (spirit/deity), 29, 31t, 174f Godparents, 177; assistant, or ayugbn,
Eleggua, 172, 200; divination for, 177, 18890; 17172, 176, 17879; If and, 186, 188, 194;
individual consultation and, 145, 14748, ritual families of, 12, 9, 16, 16f, 44, 142,
150, 15152, 154, 16162, 162f; initiates of, 144, 150, 152, 17172, 185, 224n2
55, 16061; permission from, 19192, 194; Gods-as-parents, 171
promise to, 2056; ritual invocation to, Goffman, Erving, 7, 14
15658; as tambor singers oricha, 12225, 128 Gonzlez, Celina, 200
246 Index
Gossip, 168, 170; as reflective discourse, 136, (see also Court orichas; Warrior orichas);
13839, 16869, 222n2 secrecy in, 168, 18283, 191. See also Iyaws
Graham, Laura, 209nn45 Invocations: collective, for individual aid,
Guanabacoa neighborhood, Havana, xvii, 29 15464, 16566; godchildren and, 17475;
Gemileres. See Tambores Lucum for, 67, 154; ritual, to orichas,
Guilln, Nicols, 47, 64 15658, 187. See also Moyub invocations
Islam, Nigerian Yoruba worship and, 28
Hagedorn, Katherine, 25, 60, 64, 67, 70, 75, It, 12, 14, 18
199, 217n21, 218n4 It divination, 19697, 196f; critique effects
Haitian French (language), 213n13 on, 18486; critique offered of, 17784,
Haitians, as scapegoats, 62 18788; osogbo and, 177, 181, 18892; sante-
Harding, Susan, 84, 86, 8789, 218n8 ros and, 176, 18688; special day of, 11, 14,
Havana (city), xvii, xviif, 224n1; religious 17273, 17577
strongholds in, 29, 31t, 54; tourism in, Italeros, 15, 173, 174, 177
4951 Iyalochas (contraction). See Iyalorichas
Hay, David, 9798, 102 Iyalorichas, position in ritual hierarchy, 174,
Helg, Aline, 6061, 62, 216n11 174f
Herskovits, Melville, 63 Iyaws, 12; building moral community and,
Hindu practices, boundary-blending of, 18695, 196; Lucum jargon and, 18, 224n4;
214n28 position in ritual hierarchy, 174f, 179; pre-
Hodge Limonta, Ileana, 30, 35, 36, 59, 71, sentation of, to their orichas, 50, 17273
212n3
Home altars, 32f, 33f, 36, 37f, 40f, 43f, 75, 205; James, William, 87, 95, 96, 97, 219n12
boundary-blending of, 43, 214n28 James Figarola, Joel, 3032, 36, 212n4
Hood, Ralph, 97, 219n15 Jehovahs Witnesses, religious cross-pollina-
Houk, James, 214n28 tion and, 33
Human sacrifice, 68, 71 Johnson, Paul, 214n29
If, 214n23; divination rituals of, 100, 143, Kabbalah practices, boundary-blending of,
223n6; godparents in, 186, 188; initiates of, 214n28
50, 75, 194, 196f, 217n25; priests of, xix, 28, Kardecian Spiritism, as social valorization, 31t
38, 174 Kimpungulu (spirits/deities), 36
Iguoros, 68, 173, 216n19 Kirsch, Thomas, 97, 143, 217n3, 222n8
Immigration policies, 62 Kuipers, Joel, 147, 220n18
Indexical relationships, moral community
and, 1415, 170 La Briyumba, 214n27
Initiates and initiations: ceremonies for, 170, Lachataer, Rmulo, 29, 30, 58, 6567;
17273, 203, 224nn35, 225n6; family in mindset of, 6667, 216n16; term popular-
the saint, 167, 171, 176, 224n2; making ized by, 30, 64, 216n14
the saint, 54, 83, 90, 93, 171; notebook of La China. See Lamar, Aurora
the saint in, 177, 179 (see also Tambores); La Habana. See Havana (city)
in If, 50, 75, 217n25; offerings and, 176, 179; La Kimbisa, 214n27
potential, and ethnography, 17586; ritual Lamar, Aurora, prominence of, 54, 215n5
kinship, 54, 75, 81, 17177, 217n23, 217n25 La Mayombe, 214n27
Index 247
La Playita neighborhood, Santiago, xviiif Mediation, 143, 175, 203, 221n21; as type of
La Regla de Ocha (the Law), 2, 3, 11, 168. See divine communication, 100101, 100f
also Santera Mestizo. See Myth of mestizaje
Las Ciencias (spirits/deities), 31t Metaculture, 26, 4041, 2015, 21112n1; com-
Latin America, national identity in, 41, peting stances in, 5153, 7778, 199; double
214n26 binds in, 66, 7077, 199; rituals as vehicles
La Vida Es Silbar (film), 73 for, 99, 220n18; straddling interspaces of,
Law of the Orichas. See Santera 82, 21718n4
Lecuona, Margarita, 19899 Metaphysics, 36; moral community as shaper
Life Is to Whistle (film), 73 of, 14, 202; reflections on religious ethnog-
Loas (spirit/deity), 31t raphy, 811; of ritual speech and song, 6,
Lombroso, Csare, 60 89, 210n3
Los Hoyos neighborhood, Santiago, xviiif; as Millet, Jos, 32, 5455, 215n5
Afro-Cuban area, xix, 34, 213n16; religions Millet, Jos, et al., 34, 35, 213n16, 213n18,
practiced in, 3435, 214n20; Sta. Brbaras 214n19
Day procession through, 56f, 57ff Moore, Robin, 25, 64, 70, 214n26
Los Muertos (spirits/deities), 31t, 32f, 39f, 200 Moral community, 15; Santera rituals and, 1,
Los Negros Brujos (Ortiz), 6063, 66 47, 2021, 204; boundary marking in,
Los Olmos, neighborhood, Santiago, xviiif, 4445; indexical relationships in, 1415,
56f, 57ff 170; skepticism in, 3, 202, 204
Lucum, 6; invocation in, 67, 154; jargon of, building, from critique and controversy,
29, 45, 158, 173, 203, 224n13; origin of, 25, 16797; controversy that shapes com-
216n15; religions of, 26, 31t, 65, 68, 212n2. munity, 19294, 201; critiques offered and
See also Ritual speech and song their effects, 17784, 18486, 18788, 204;
Dutch iyaw in, 18695, 196; ethnographer
Magic, 28, 30, 36, 42, 15556, 212n6. See also as religious outsider and potential initiate,
Black magic; Witchcraft 17586; ritual kinship and authority, 17175;
Malinowski, Bronislaw, 221n1 rituals and recrimination in, 168, 17784,
Mandinga, African influence of, 47 19597, 196f
Mannheim, Bruce, xii, 50, 218n4 Moral continuums, 41, 42, 43, 152; dueling,
Mara Lina Jimenez neighborhood, Santiago, and competing Santera histories, 4978;
xviiif folklorist vs. santero, 7578; moral de-
Mariana de la Torre neighborhood, Santiago, cline, 55, 58, 75; Revolutionary economy,
xviiif 7274, 78
Marin Llanes, Marcos, 70 Mosquitoes, jars of water and, 50
Ma Rufina, altar to, 32f Moyub invocations, 4445, 46, 22324n11;
Matanza, 18990, 196f embedded text in, 68, 15664, 216n19; as
Matanzas (city), xviif, 29; Arar deity in, 36, magic, 15556; ritual lineage in, 53, 155,
214n22; religious stronghold in, 31t, 54; as 16465, 17475
Santera birthplace, xvii, 224n1 Mpungu (spirit/deity), 31t
Matibag, Eugenio, 64, 214nn2324 Muerteras, 33, 39f, 43f
Matory, J. Lorand, 28 Muertera. See Muerterismo; Spiritism
Mattingly, Cheryl, 163, 220nn1718 Muerterismo, 32, 213n12
Mayo Mayo, Omar Enrique, 215n2 Muerteros, 39, 54, 218n4
248 Index
Museo de la Asociacin Cultural Yorub de responses of, 1, 117, 153, 18889; presence
Cuba (Museum of the Yoruba Cultural As- of, 6, 9, 10, 33, 174f; promises to, 200201,
sociation), 49, 5051, 70, 71 2034, 2045, 2056, 207, 207f; roles of, 9,
Museums, 5051, 6465, 75 12, 14, 15, 17, 171, 17273, 175
Myth of mestizaje, 41, 53, 63, 70, 216n12 Orisha (spirits/deities), 2829, 59, 212n7,
214n28
angareo, sharing secrets and, 18283 Ortiz, Fernando, 29, 30, 59, 6063, 6466,
Newberg, Andrew, 96, 21920nn1516 6769, 212n5, 212n10, 214n25, 216n18
Ngangas (spirit/deity), 31t Orunmila, babalawos and, 188, 194
Nigeria, 28, 29 Osogbo, It divination and, 177, 181, 18892
Nueva Vista Alegre neighborhood, Santiago, Oy, 172, 17677
xviiif, xix
Nuevos Pios neighborhood, Santiago, xviiif Paine, Robert, 139, 222n2
Nzambi. See God Paleros, 35, 42, 143, 214n27
Palmi, Stephan, ixx, 27, 28, 29, 30, 36, 42,
Obatal, 172; cowries and divination for, 48, 59, 212n10, 214n26, 217n22, 217n25,
17677; as guide, 9, 55, 81, 217n2; song 218n4
treatments for, 12021 Palo, 29, 31t, 41, 46, 59; as African-derived
Obbas, ritual hierarchy and, 174 religion, 27, 42, 43, 43f, 47; coconut shell
Ochos, 8, 172 divination in, 3839, 214n24; paleros in, 35,
Ochn: conversion to devotee of, 8588, 89 42, 143, 214n27; religious cross-pollination
95; as Court oricha, 172, 178; cowries and of, 3032, 39
divination for, 17677; little pinches from, Palo Mayombe. See Palo
8284, 89, 99, 1023, 219n10; personality of, Palo Monte. See Palo
8, 83, 207, 207f; possession by, 8283, 203; Parkin, David, 147
song treatments for, 120, 199 Parsons, Talcott, 2
Offerings, 176, 179, 190, 206, 207 Partido Independiente de Color, 61, 63, 216n11
Officiating priests, 15, 17274, 174f, 177, 19193, Patakines, 26, 203, 212n3
196 Peek, Philip, 147, 149
Ogn, 8, 55, 172 Prez, Louis, Jr., 33, 213n14
Olofi. See God Prez, Reynerio, 53, 5558, 57ff, 73, 164, 168,
Olokun, 12, 1415, 18, 177 215n7
Olorichas, position in ritual hierarchy, 174f, Performativity, making a promise as,
179 200207, 207f
Olorun, 187, 227n17 Philips, Susan, xi
Oludomare. See God Popularism, descriptive labels of Santera
Order of the Orichas. See Santera as, xx
Oriats, 172, 174, 174f; roles of, 173, 19193, 196 Possession trances, 108, 109; bodily presence
Orichas, 29, 31t, 174f; appeasement of, 7, 126; of orichas in, 6, 8283, 109, 112, 11517, 130,
dances of, 8, 49, 82, 11314, 114f; expec- 203, 218n4; conflicting interpretations of,
tations of, 12526, 154, 170; honors for, 14042; songs directed in, 106, 115, 116f,
40f, 107; in kinship model, 16, 16f, 45, 55, 117; tambores for, 10929; as type of divine
171; language of, 45, 46, 83, 92, 99, 100, communication, 100, 100f, 101, 102, 130
101, 12122, 181, 219n10, 222n9; possible Prayer: answered, as interpretation, 98,
Index 249
200201; as type of divine communication, sanctions, 13740; rituals for individual

100, 100f, 1012, 162, 162f advancement, 15254, 202
Proofs, 151; santeros concerned with, 82, Religin Haitiana. See Vod
93, 131, 219n10; tests and, 92, 1057, 205, Religin Lucum. See Santera
219n10; ways to recognize, of divine com- Religious consultations, 14252; expecta-
munication: narrative models, 81, 92, tions from, 143, 163; folklorists, xix, xx, 9,
9495, 103; reflection, 1718, 131; wit- 66; muerteras, 33, 39f; santeras, 49, 185,
nessing, 170, 201 226n15; santeros, 27, 1079, 143, 14464,
Protestantism, 31t, 33 185
Proudfoot, Wayne, 85, 95 Religious ethnography, 88; aleyos and, 167,
Public health, 50, 51, 62, 7071, 216n10 17586, 18694; metaphysical reflections
on, 811; rituals in, 45. See also Ethno-
Racial influences in Cuba, 2728, 33, 213n17; graphic data
black skin color, 6063, 6970; folk Religious experience, 14; definition of,
religions and, 4243, 59, 212n10; religious 8586; divine communication as, 99102;
affiliation and, 34, 40, 48, 214n19 interpretive approaches to, 85, 9598,
Rahier, Jean Muteba, 216n12 108, 163, 202, 219n11; meaning of, 20, 128,
Rappaport, Roy, 220n19, 221n1 130; narratives and, 81103; rituals
Rayado, Regla de Palo, 39 and, 21, 10431, 210n5; phenomenological
Reflection, 87; conscious, of santeros, 4, 19, approaches to, 56, 17, 85, 9598, 219n11;
45; proof sought through, 1718; ritual physiological studies of, 96, 9798,
participants and, 5, 8, 103, 11214 21920n16; ritual models of, 9899, 202,
Reflective discourse, 204; gossip as, 136, 22021n20, 220nn1719; shared set of,
13839, 16869, 222n2; ritual critique as, and Santera rituals, 1, 47; telling mo-
4445, 16870, 18486, 19596, 19697, ments as, 120, 2067; retelling, 8695;
196f, 202 warnings in, 2, 1119, 9293, 173, 197. See
Regla. See La Regla de Ocha (the Law) also Ach energy
Regla de Palo. See Palo Religious practices, 136, 214n28; commonali-
Regla neighborhood, Havana, 29 ties of, across popular religions, 3640;
Regla(s) de Congo. See Palo polarization of, and racial influence,
Religion: community development in, 5, 4243; relegated to past as folklore, 6465,
2021, 13566; phenomenological approach 216n13. See also Ceremonies; Divination;
and psychology of, 56, 39; popular, in Home altars; Rituals in Santera; specific
Cuba, xx, 25, 27, 3033, 201, 21213n11; practices
commonalities among, 3640; mea- Ritual families: ceremonies conducted by,
sures of, 3435; signs of, 34, 21314n18; 15, 16; kinship model of, 1516, 16ff, 51,
social valorizations of, 4044 (see also 55, 144, 16364; in Santiago de Cuba,
Santera) 5359
respecting and advancing in the, 13566, Ritual kinship, 203; building moral commu-
19597; collective invocation for individ- nity with, 17175; godparent relationships
ual aid, 15464, 165; conflicting interpre- in, 12, 9, 16, 16f, 44, 142, 144, 150, 152,
tations of a possession trance, 14042; 17172, 224n2; hierarchy in, 168, 17375,
consultations for individual advancement, 174f; initiation in, 54, 75, 81, 17273, 217n23,
14252, 202; morality tales and divine 217n25
250 Index
Rituals in Santera, xix, xx, 1415, 19597; Santa Brbara, 55, 56f, 57ff, 150
illegality of, 64, 70, 71; invocations of, Santa Rosa neighborhood, Santiago, xviiif
4445, 15564, 187; as models of religious Santeras, 111, 200; at-home religious spaces of,
experience, 9899, 15354, 22021n20, 37ff, 38f; consultations by, 49, 185, 226n15;
220nn1719; evaluation, 10431, 202; mediation by, 2034
participants and, 5, 67, 19, 4546, 107, 154, Santera, 214n22; as African-European syn-
16263, 162f, 165; witnessing role of, 170, cretism, 40, 41; birthplaces of, xvii, 30, 31t;
17784; recording of, 107, 112, 156, 209n5; as Catholicism-Yoruba connection, 2627,
requirements of, 3940, 53; results of, 1, 29; competing interpretations of, 6670;
47, 1921, 103, 163, 181, 197, 204; sacred conversion experiences in, 8384; narra-
stance for, 5152, 165, 202; sacrifice in, 2, tives, 8587, 88, 8995; descriptions of, xx,
68, 71, 176, 179, 180, 187; skepticism and, 5, 19, 2530, 31t, 48, 203, 228n2; emergence
9, 105, 108, 131, 169, 202; types of divine of, and competing histories, 4978, 215n1;
communication in, 99102, 100f. See also influence of, 21, 30, 3233, 41; as Lucum-
It divination Yoruba connection, 29; moral community
Ritual song: in Lucum, 8, 58, 1067, 111, 112, of, 5, 2021, 16797, 221n21; participation
222n6; in Spanish, 5859, 117, 21516n8, in, 35, 73, 217n23; practice boundaries
222n7 of, 27, 4448; priests of (see Santeros); as
Ritual speech, 166, 181; conversion patterns problematic religion, 2629; as thumbnail
of, 84, 86, 8889, 91; gossip linked to, 168; sketch, 2526; as traditional abstraction, 25.
in Haitian French, 213n13; in Lucum, 18, See also Rituals in Santera
33, 46, 67, 108, 118, 127, 128, 153f, 15659, 163, Santeros, 1; babalawos and, 2829, 18694,
225n6; in Spanish, 127, 128, 153f, 159 19697; cultural sensibilities of, 39, 202,
Ritual speech and song, 6, 89, 64, 195, 210n3; 209n5; hierarchy among, 6, 15, 32, 45, 167,
attracting saints with, 101, 110 172, 203; interpretation of the faith and, 27,
Robbins, Joel, 220n19, 221n1 1079, 153, 201; in kinship model, 16, 16f,
Romn, Reinaldo, 4142, 59, 212n10 45, 55, 173; mediation and, 175; moral stan-
Roque de la Nuez, Jos, 68 dards and, 14142, 16869; motivation of,
Rushing, Fannie, 61 74, 75, 7677, 217n24; prediction and, 1011,
1718; presence of, xix, 35, 55; protection of
Sacred power. See Ach energy the faith and, 27, 66, 13536, 202; religious
Sacred spaces, 5051, 5152, 18990 experiences and, 14, 9, 4546; secrecy
Sacrifice, 180, 203; animal, 2, 176, 179, 180, 187; and, 168, 191, 2034
human, 68, 71 Santiago de Cuba (city): location of, xviif, 8;
Saints, 110; divination and, 15, 18, 38, 81, 150, neighborhoods in, xviiif, 33, 213n16; popu-
187, 191; divine responses of, 153f, 163; feast lation of, xix, 209n3; religious competition
days to honor, 55, 56f, 57ff, 76, 200; to in, 19596, 201; ritual genealogies in, 5359;
make the saint, 54, 83, 90, 171; popular Santera history in, xix, 168, 224n1; Santi-
cults to, 29, 31t; possession by, 1067 agueros as residents of, 55, 111, 198, 213n17
Sambia. See God Santos (spirit/deity), 31t
Snchez, Amada, prominence of, 54 Santurismo, commercial potential of, 75,
San Lzaro, 33f, 76, 200 2067, 207f
San Pedrito neighborhood, Santiago, xviiif, Schleiermacher, Friedrich, 95, 97, 219nn1213
xix Secret traditions, 4546, 77, 214n29; guard-
Index 251
ing against loss of, 5152, 66, 215n3, 215n6; Tests, proofs and, 92, 1057, 131, 205, 219n10
initiations and, 168, 18283, 186, 191; publi- Theodicy, question of, 2
cation of, 6869 Tomlinson, Matt, 215n6
Sheep, sacrifice of, 2, 187 Torres, Rosa, prominence of, 54, 55, 164
Shells, ritual use of. See Coconut shells; Cow- Tortoise shell, 187
rie shells; Snail shells Tourism, 4951, 7274, 75, 2067, 207f
Shrines, 200, 2034 Transculturation, 6364, 214n25
Silverstein, Michael, 45, 50, 88, 210n4, 212n2, Trawick, Margaret, 221n1
220n18 30 de Noviembre neighborhood, Santiago, xviiif
Skepticism: in faith, 3, 9, 10431, 144; moral Trinidad, boundary-blending in, 214n28
community and, 2021, 16797, 202, 204; Trouillot, Michel-Rolph, 218n4
religious vs. secular, 4, 8182 Turner, Victor, 220n17
Slavery legacies in Cuba: African denigration,
29, 52; bozal speech, 122, 222n9; racism, University of Havana, anthropology muse
4647; resistance strategies, 74 um, 64
Smith, Kristin, 215n1 Urban, Greg, 7, 21112n1, 215n1, 215n3,
Snail shells, 189, 19192 220n18
Social valorization, 30, 31t, 4044, 41 Urrutia y Blanco, Carlos de, 59, 60, 212n10
Spiritism, 29, 31t; altars in, 33f, 37f, 43f; as
European-derived religion, 27, 42; religious Virgen de La Caridad del Cobre, 200
cross-pollination and, 3032, 33, 35, 59, 159, Vista Hermosa neighborhood, Santiago, xviiif
214n20; religious practices of, 39, 4142, Vod, 27, 31t, 35, 41, 214n22
4546, 143, 201 Voodoo. See Vod
Spirits of the dead, 36, 38, 54, 108, 111; permis-
sions from, 16465, 18081. See also Los Warnings, in religious experience, 2, 1119,
Muertos; Spiritism 9293, 173, 197
Spiritual discovery, faith in, 910 Warren, Kay, xii, 26
Stromberg, Peter, 85, 87 Warrior orichas, Day of It and, 172
Supreme Creator. See God Water in jars, 39, 50, 70
Suspicious stance in metaculture, 51, 52, 59, Watts, Fraser, 96, 9798
71, 215n4 Weber, Max, 2
Syncretism, 29, 33; African-European culture Webers corollary, 2
and, 40, 41, 64, 201; of Catholicism-Yoruba Wedel, Johan, 73, 214n27
connections, 2627; descriptive labels of Wemileres. See Tambores
Santera and, xx, 25, 2627, 31t Werbner, Richard, 149
Williams, Mark, 96, 9798
Tambores, 200; coconut shell divination dur- Winick, Stephen, 137
ing, 11112; de fundamento, 167, 168; drum- Witchcraft, 18, 31t; paleros and, 42, 214n27;
ming in, 10910, 112, 129; interpretation in, racial influences and, 212n10; Santera and,
1089, 11229, 130, 14041; singers for, 110, xx, 25, 28, 49; suspicion of, 5963, 215n4.
11112 (see also Germn [tambor singer]); See also Black witches; Magic
sponsorship of, 108, 110, 114, 203 Witnessing, 84; as participant role in Santera
Tarot cards, divination role of, 39 rituals, 170, 17784; as religious speech, 86,
Tedlock, Dennis, xii, 50, 218n4 8889
252 Index
Wortham, Stanton, 88 for possession by, 108, 11318, 114f, 115f, 116f,
118f, 14041; song treatments for, 12021
Yelvington, Kevin, 218n4 Yoruba, 212n9; as language, 46, 58, 59,
Yemay, 172; clothing of, 117, 11920; cowries 224nn1517, 225n6; pantheon, 36, 203;
and divination for, 17677; dances and, 114, African dance as mnemonics for, 8;
114f, 116, 117; messages from, 11820, 119f, stories of, 26; religion and, 25, 28, 31t, 42;
12128; personality of, 8, 114; santero hired syncretism of, and Santera, xx, 2627, 29
Index 253
Kristina Wirtz is an assistant professor of anthropology at Western Michigan

University. She has published and forthcoming articles in American Ethnolo-
gist, Journal of Latin American Anthropology, Language and Communication,
Text and Talk, and Journal of Religion in Africa, all based on her ongoing eth-
nographic and linguistic research on religion in Cuba.

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What is the book about?

What is the book about?

What are some of the religious practices discussed in the book?

What are some of the religious practices discussed in the book?

ANTHROPOLOGY / RELIGION Wirtz Kristina Wirtz

Ritual, Discourse, and Community in Cuban Santera

University Press of Florida

University Press of Florida

Chapter 3 contains a revised version of Santera in Cuban National

ISBN 978-0-8130-3064-7 (cloth)

1. SanteriaCubaSantiago de CubaCase studies. 2. CommunitiesReligious

University Press of Florida

To Ed and Yasmin, with love

List of Illustrations viii

1. Introduction: Telling Moments 1

In this book I revisit an enduring question of anthropology: how do commu-

religious practices, how do some practitioners create and recognize links of

es by which different essentializations, such as those listed above, emerge. My

as religions and communities. Kay Warren (1992) argues for a construction-

thinking of santeros religious community as a moral community (and indeed

chatter of conversation was so ordinary as to be almost invisible to me, serv-

Field site overview

I am humbled by how many people contributed to making this book possible

their openness to foreigners and U.S. citizens, particularly in the face of an

Several linguistic codes are relevant to this examination of Santera in Cuba.

is a compromise between my goal of providing thorough linguistic evidence of

Word . word A period separated on either side by a space denotes a single

of Santera and to participate in local religious life. Whether such narratives

Metaphysical reflections on religious ethnography

In a sense, ethnography, too, consists of seeking to render ones experiences in-

life, I can never quite overcome my agnosticism. I resist committing myself to

Divine warning Warning not heeded Event comes to pass

Here is the complete narrative in translation, as he told it to me in 1998, after I

1 Emilio: It is not fanaticism. It is not fanaticism, it

7 Olokun urgently, on my day of It. Or that is,

46 E: to my ceremony of the saint?

are highly presupposedfor example, he is present as a character in his own

Principal oricha Secondary oricha Special protector spirits

interlocking chain, to again borrow Aghas metaphor (2003)of cultural forms

In the following chapters I examine how santeros engage in Santeras formal

local moral community. My conclusions challenge the received notion in an-

All the Priests in the House

The interpretive act of definition

How to define Santera

The standard thumbnail definition of Santera, available in many books, de-

about whether Santera is a black, an African, or a national religion (173),

Rather than emphasizing the classic syncretisms between Catholic saints

The popular religious complex in Cuba

Palo Monte, Congo or Bantu Oriente Ngangas, Witchcraft; the most

Vod, Haitian/Fon-Dahomean Oriente Loas Potent religion of small,

Santera, Yoruba Western Cuba Orichas or Syncretism of Yoruba and

Catholicism Spain Urban areas Santos, Few churchgoers; many more

into an amalgam that Cuban scholars have referred to as Muertera or muer-

Figure 2.1. Altar to a muerto (spirit of the dead) named Ma Rufina.

Measures of Cuban religious affiliation

(20 percent), and practicing privately and intermittently (30 percent). If we

Commonalities across the popular religious complex

I have suggested that Santera is best understood as part of a popular reli-

of Palo.24 Spiritists and Muerteros practice mediumship or divination with