Gender, Sexuality, and Creativity in the Latina/o and Afro-Atlantic Diasporas
Publication Year: 2013
Published by: State University of New York Press
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Title Page, Copyright
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illustrations and other media
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Cover image, Adenike of Lagos, Arturo Lindsay, 2003. Digital print, Figure 10.3 iemanj? Festival. Flowers and gifts await departure. Figure 10.5 iemanj? Festival. Boats carry offerings to the sea. Plate 8 Boli Catching the Skies #1, 2010 (the Sardine Fishing in...
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...many people and organizations helped to make this project a reality. many thanks for the support and feedback received from the Harvard Divinity School?s Women?s Studies in religion program, especially Ann Braude, who sponsored some of the research in Cuba presented in this book. We are grateful as well for the support received from the ...
note on terminologyand orthography
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Some of the chapters in this book use the diacritical marks that express Yoruba tones and consonances. Yoruba is a tonal language that moved across the Atlantic into contexts where Spanish, Portuguese, and Ameri-can dialects of English incorporated the language within their own pho-netic structures. the differences in orthography reflected in the chapters ...
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...?Yemay? es Reina Universal porque es el Agua, la salada y la dul-ce, la Mar, la Madre de todo lo creado / Yemay? is the Universal Queen because she is Water, salty and sweet, the Sea, the Mother In the above quotes, poet Audre Lorde and folklorist Lydia Cabrera write about Yemoja as an eternal mother whose womb, like water, makes ...
Part 1Yemoja, Gender, and Sexuality
Chapter 1Nobody’s Mammy
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In the writing on Afro-Cuban religions, Yemay? has been approached as both the prototype for and the deified paragon of maternal love. Accord-ing to most accounts, not only does Yemay? birth fellow orishas and raise the divine twins, the Ibeyi, as her adopted children, but she also features prominently in the mythology of her son, Chang?. Dozens of ...
Chapter 2Yemayá’s Duck
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The Duck, pepey? or ku?kueue, is sacrificed exclusively to Yemay? and Olokun. The duck is the elder bird sacrificed to Yemay? and is accompanied by the rooster. He is blindfolded when he is about to be sacrificed, and whoever plucks him must cover her nose and mouth with a handkerchief so as to not sully him with her breath. ...
Chapter 3Yemayá y Ochún
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Ser?a imposible al hablar de Yemay? en la Isla de Cuba, silenciar y menos separar de ella, a la popular?sima Och?n, con quien comparte It would be impossible to talk about Yemay? in the island of Cuba by silencing and separating her from the popular Och?n, with whom Lydia Cabrera?s El Monte (1954) is one of the queerest books ever ...
Chapter 4A Different Kind of Sweetness
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Yemay? is the regal matriarch: the sovereign mother, whose dignity transcends all human afflictions. It is this queenly resplendence that commands the respect of all orishas. She is the supreme head of the ?y??mi/?je and of the G?.l?.d? and Efe masquerading traditions. She is the bringer of children and the great monarch sought out for fecundity ...
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Yemoja is a river and ocean goddess of the ?r?s? spiritual tradition practiced by the Yor?b? of West Africa and their descendants across the Atlantic. Once deconstructed, her name in Yor?b? means ?Mother of Fish.?1 Worshipers also call her by other names, all derivatives of Yemo-ja2?Yemaja,3 Yemonja,4 and Yemanja5 in West Africa and the Americas; ...
Part 2Yemoja’s Aesthetics
Chapter 6“Yemaya Blew That Wire Fence Down”
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As Gloria Anzald?a interrogates Chicana/o sociopolitical histories in the essays and poems that constitute her foundational work, Borderlands/La Frontera: The New Mestiza, she makes explicit references to West African diasporic spirit-practices.3 In the above excerpt, she invokes the Yoruba female orisha of the salt waters, Yemay?, as the resistant elemental force ...
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Plate 1. La Llorona?s Sacred Waters, Juana Alicia ?2004. Acrylic mural on stucco, 30' x 60'. 24th and York Streets, San Francisco Mission District. Plate 2. Yemaya Detail from MaestraPeace (1994 and 2000) by Juana Alicia, Edythe Boone, Susan Kelk Cervantes, Meera Desai, Yvonne Littleton, and Irene Perez. Photo Credit: Marvin Collins, Ruben Guzman, et al. All Rights Reserved....
Chapter 7Dancing Aché with Yemaya inMy Life and in My Art
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As a child growing up in the Republic of Panama, my mother encour-aged me to pray to the Virgin Mary whenever I felt that I was in need of divine intervention. Her logic was that as the Mother of God Mary had special privileges and could intervene on my behalf with her divine son. My mother reasoned that this was akin to having a good friend in ...
Chapter 8What the Water Brings and Takes Away
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Cubans have an intimate, loving, and troubled relationship with the sea. As an island, we have little choice except to know it, embrace it, and reckon with it. The ocean has been a constant inspiration for romantic poets and a grim historical warning as an aquatic graveyard during the Middle Passage and, more recently, for rafters traversing the Florida ...
Chapter 9“The Sea Never Dies”: Yemoja
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The most versatile element, the elemental force, the essential source of all life is water, and the Mother of all of the waters of this world is Yemoja. So important a God is she, Yemoja boasts the or?k? Yew?job?, which means Mother of All of the Gods and of All Living Things.1 There are no Gods without the Mother. There is no life without the Mother. ...
Chapter 10A Sonic Portrait with Photos ofSalvador’s Iemanjá Festival
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Here in Bahia, they say that the shimmering trail of moonlight reflecting off the Bay of All Saints is the hair of Iemanjá. We find her represented in the form of a mermaid and also as something more akin...
Chapter 11Yemayá Offering a Pearl of Wisdom
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I am an eclectic pagan who has loved mermaids since I was a small child and have informally studied mermaid folk art since that time. When I was in the initiation process to become a Bloodroot Honey high priestess for CAYA Coven in Berkeley, California, I had to devote three months to a mother goddess to get in touch with the divine mother within. Since ...
Notes on Contributors
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Page Count: 336
Publication Year: 2013