African slaves from Nigeria, Benin and the two Congos brought their religious beliefs to Latin America. Colonists allowed slaves to worship in their own manner as long as they pretended to accept Christianity.

This ensured the survival and subsequent mingling of African rites with Christian liturgy. In this assignment you will explore the origins and development of santeria and listen to some of the Lukumi, abakuá and Congo religious chants that have survived until today.

Go to the following sites:

Santería, from Ontario Consultants on Religious Tolerance
http://www.religioustolerance.org/santeri.htm

a) Identify the major rites that gave rise to Santería and their countries of origin.

b) Describe the cosmogonies of the abakuá, the lukumí and the palero rites in 150 words each.

c) Compare and contrast the major features of Christianity that coincided with the African rites identified above, thus permitting the development of the syncretic beliefs of Santería.

Listen to the following examples of Afro-Cuban religious music (as recorded in Cuba in the sixties by the Grupo Folklorico Nacional):

Yoruba (Lukumí)
I. Chant to Eleggua, orisha of crossroads.
II. Chant and drumming to Changó, orisha of virility, fire, thunder and drums.

As you listen to these chants, try to determnine the basic structure of invocation, theme, and choral response that is characteristic of West African music. The drumming to Changó particularly exemplifies the structure of cross-rhythms as discussed by Prof. Ladzekpo in the previous assignment.

Congo (Palero)
I. Congolese Makuta call and response structure followed by drumming section.
II. Congolese Yuka

While Yoruba music pervaded the rituals of Santería, it was the music of the Congolese that had the greatest impact on the music of Cuba. As you listen to these selections, try to identify the cinquillo (five note unit) and the clave (three/two or two/three unit), the basic rhythmic cells that became the backbone of Cuban music from the contradanza to the son. Listen to the call and response structure of makuta, which gave rise to the different forms of rumba.

Abakuá (Carabalí)
I.Abakuá Efor, forces of order.
II. Abakuá Efik, forces of chaos.

As you listen to these selections, try to identify the instruments that play different rhythmic patterns in each of the chants.