Notes
213 Notes Note on Typography 1. Cabrera 1986. Introduction 1. The terms Santería, Lucumí, Regla Lucumí, Regla de Ocha, and el religion Yoruba are all synonyms for the same religion. Though Santería is the most recognizable of these names in the United States, it is a term I rarely hear in Cuba. Further, it is my feeling that the term is pejorative and misrepresents the religion. Most commonly, among my informants, I hear the phrase Yorùbá used to describe the religion or the related cultural arts. The problem with using this term in the context of an English language text is that Yorùbá has one meaning within Cuba and another meaning outside of Cuba. That is, in Cuba, it refers to the syncretic practices that evolved there, while readers outside Cuba will likely think of the practices and cultural forms as they currently exist in Nigeria. The term Lucumí eliminates the issue of disrespect and accurately identifies the religion to all audiences. 2. Cornelius 1990, 135. 3. Mason discusses the origins and lineages of many sets of Añá (1992: 13–20). Though many sets of batá de fundamento are born from existing drums, it is possible to create a set “from thin air.” The latter practice was likely the means used to create the first batá in Cuba, and has been used occasionally since (Font 2003, personal communication). 4. Vélez 2000, 50. 5. Throughout this book I refer to many persons by a first name or nickname. Nicknames are common in Cuba, and many public figures are referred to by their first name or nickname. Some people may even casually know one another by nickname for years without knowing the person’s proper name. For example, Pancho Quinto’s real name is Francisco Hernández Mora, but Pancho Quinto is the name with which he introduces himself, is known by all his friends, and that appears on his musical recordings. Since his nickname has two names, I assumed that these were his first and last names and never thought to ask for his proper name until after I had known him several years. 6. Since the Thelonious Monk competition took place in Washington, D.C., I was able to attend the semi-finals and finals portions of the event. To help Pedrito relax and focus prior Notes 214 to going on stage, Pedrito, Steve Bloom, and myself went to the green room backstage and played an oro seco on the batá. 7. Román’s set of batá de fundamento was consecrated in Havana by Ángel Bolaños. 8. My apprenticeship with Pancho Quinto is described in chapter 5. 9. The origins of Añá Obayé are discussed in some detail in chapter 5. 10. These facts were gleaned by speaking with several knowledgeable batá drummers, including Michael Spiro. 11. Hagedorn 2001, 78. 12. McNeill 1995; Turner 1967, 1969. 13. Drewal 1992, 89. 14. Keil 1979. 15. Feld 1981, 1988. 16. Becker and Becker 1981. 17. Becker 1974; Armstrong 1971; Geertz 1983. 18. Abiodun 1994; Brown 1996; Drewal 1992; Drewal, Pemberton III, and Abiodun 1989; Flores-Peña 1990; Flores-Peña and Evanchuk 1994; Lawal 1974; Thompson 1973, 1966. 19. 1950; 1952–55. 20. Manuel 1991, x. 21. Martínez-Furé’s 1971 article “Tambor” was translated for inclusion in an Englishlanguage collection of essays edited by Peter Manuel (1991a). 22. Friedman 1982, 136–43. 23. Ibid., 164–214. 24. Moore 1995. 25. Ortiz 1937, 163. 26. At the time, Ortiz considered Roche to be among the most reputable living batá players in Cuba, and Roche was his primary informant on all matters relating to the batá. To this day, Roche’s students are among the most well-known, internationally traveled, commercially recorded and sought-after drummers in the tradition. For example, Jesús Pérez, his okónkolo player at the 1936 event, became one of seven founding members of the Conjunto Folklórico Nacional de Cuba in 1958 (Hagedorn 2001, 155). 27. Ortiz 1980, 121–25. 28. Martínez-Furé 1991b, 252. 29. The Lucumí term aberikulá refers to batá drums that have not been consecrated. Many Cubans alternately use the Spanish term judio (Jew) as metaphor for the drums having not been “baptized.” The distinctions between batá de fundamento and aberikula are further discussed in chapter 1. 30. Manuel 1991, 293. 31. The film Vamos al Tambor: Presentations in Matanzas, Cuba (2003), directed by Tina Gallagher, provides a vivid example of the...
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