Lydia Cabrera Between The Sum And The Parts

Ever a trickster, the anthropologist, writer and activist Lydia Cabrera (1899-1991) blurred the lines between historian and storyteller, reality and fiction.Finding their initial context--and audience--in the avant-garde milieu of interwar Paris, Cabrera's stories based on Afro-Cuban myths and folktales continue to inform and inspire generations of artists, writers, and scholars.When the rise of fascism forced Cabrera to return to her native Cuba, she devoted herself to the preservation of Afro-Cuban cultures, a lifework that culminated in her scholarly and spiritual masterpiece, El Monte, in which the Cuban wilderness is brilliantly animated by the voices and rituals of the dead.The first English volume dedicated to her work, Lydia Cabrera: Between the Sum and the Parts introduces her substantial legacy to a new audience. Includes a facsimile of the illuminated manuscript, Arere Marekén (1933), a collaboration between Lydia Cabrera and Alexandra Exter.'Because cultural homogenization is nothing less than cultural extinction, Lydia Cabrera's work models a strategy for survival in our own period, in which the spectre of extinction has become ever more present. Cabrera dedicated herself fully to her work in historically difficult circumstances and in involuntary exile, so it is disconcerting that her work remains ignored. Her legacy deserves revisiting.' -- Hans Ulrich ObristPublished on occasion of the exhibition, Lydia Cabrera and Édouard Glissant: Trembling Thinking at the Americas Society, New York (9 October 2018 - 12 January 2019). Curated by Hans Ulrich Obrist, Gabriela Rangel and Asad Raza.Co-published with Americas Society.

First published in Cuba in 1954 and appearing here in English for the first time, Lydia Cabrera’s El Monte is a foundational and iconic study of Afro-Cuban religious and cultural traditions. Drawing on conversations with elderly Afro-Cuban priests who were one or two generations away from the transatlantic slave trade, Cabrera combines ethnography, history, folklore, literature, and botany to provide a panoramic account of the multifaceted influence of Afro-Atlantic cultures in Cuba. Cabrera details the natural and spiritual landscape of the Cuban monte (forest, wilderness) and discusses hundreds of herbs and the constellations of deities, sacred rites, and knowledge that envelop them. The result is a complex spiritual and medicinal architecture of Afro-Cuban cultures. This new edition of what is often referred to as “the Santería bible” includes a new foreword, introduction, and translator notes. As a seminal work in the study of the African diaspora that has profoundly impacted numerous fields, Cabrera’s magnum opus is essential for scholars, activists, and religious devotees of Afro-Cuban traditions alike.

An unprecedented number of folklorists are addressing issues of class, race, gender, and sexuality in academic and public spaces in the US, raising the question: How can folklorists contribute to these contemporary political affairs? Since the nature of folkloristics transcends binaries, can it help others develop critical personal narratives? Advancing Folkloristics covers topics such as queer, feminist, and postcolonial scholarship in folkloristics. Contributors investigate how to apply folkloristic approaches in nonfolklore classrooms, how to maintain a folklorist identity without a "folklorist" job title, and how to use folkloristic knowledge to interact with others outside of the discipline. The chapters, which range from theoretical reorientations to personal experiences of folklore work, all demonstrate the kinds of work folklorists are well-suited to and promote the areas in which folkloristics is poised to expand and excel. Advancing Folkloristics presents a clear picture of folklore studies today and articulates how it must adapt in the future.

In Afrolatinx religious practices such as Cuban Espiritismo, Puerto Rican Santería, and Brazilian Candomblé, the dead tell stories. Communicating with and through mediums’ bodies, they give advice, make requests, and propose future rituals, creating a living archive that is coproduced by the dead. In this book, Solimar Otero explores how Afrolatinx spirits guide collaborative spiritual-scholarly activist work through rituals and the creation of material culture. By examining spirit mediumship through a Caribbean cross-cultural poetics, she shows how divinities and ancestors serve as active agents in shaping the experiences of gender, sexuality, and race. Otero argues that what she calls archives of conjure are produced through residual transcriptions or reverberations of the stories of the dead whose archives are stitched, beaded, smoked, and washed into official and unofficial repositories. She investigates how sites like the ocean, rivers, and institutional archives create connected contexts for unlocking the spatial activation of residual transcriptions. Drawing on over ten years of archival research and fieldwork in Cuba, Otero centers the storytelling practices of Afrolatinx women and LGBTQ spiritual practitioners alongside Caribbean literature and performance. Archives of Conjure offers vital new perspectives on ephemerality, temporality, and material culture, unraveling undertheorized questions about how spirits shape communities of practice, ethnography, literature, and history and revealing the deeply connected nature of art, scholarship, and worship.

How water enables Caribbean and Latinx writers to reconnect to their pasts, presents, and futures. Water is often tasked with upholding division through the imposition of geopolitical borders. We see this in the construction of the Rio Grande/Río Bravo on the US-Mexico border, as well as in how the Caribbean Sea and the Pacific Ocean are used to delineate the limits of US territory. In stark contrast to this divisive view, Afro-diasporic religions conceive of water as a place of connection; it is where spiritual entities and ancestors reside, and where knowledge awaits. Departing from the premise that water encourages confluence through the sustainment of contradiction, Channeling Knowledges fathoms water’s depth and breadth in the work of Latinx and Caribbean creators such as Mayra Santos-Febres, Rita Indiana, Gloria Evangelina Anzaldúa, and the Border of Lights collective. Combining methodologies from literary studies, anthropology, history, and religious studies, Rebeca L. Hey-Colón’s interdisciplinary study traces how Latinx and Caribbean cultural production draws on systems of Afro-diasporic worship—Haitian Vodou, La 21 División (Dominican Vodou), and Santería/Regla de Ocha—to channel the power of water, both salty and sweet, in sustaining connections between past, present, and not-yet-imagined futures.

"Inspired by the exercises of Father Lafitau, a Jesuit priest and proto-ethnographer of the "New World" who compared the lives of the Iroquois to the ancient Greeks, Stephan Palmié embarks on a series of unusual comparative investigations. What do organ transplants have to do with ngangas, a complex assemblage of mineral, animal, and vegetal materials, including human remains, that serve as the embodiment of spirits of the dead? Where do genomics and "ancestry projects" converge with divination and oracular systems? What does it mean that Black Cubans in the US took advantage of Edisonian technology to project the disembodied voice of a mystical entity named ecué onto the streets of Philadelphia? Can we consider Afro-Cuban spirit possession as an extreme form of historical knowledge production? By writing about Afro-Cuban ritual in relation to Western scientific practice, and vice versa, Palmié hopes to challenge the rationality of Western expert practices, revealing the logics that bring together enchantment and experiment. Throughout, Palmié is also levelling a specific anthropological challenge: he takes issue with the much-discussed "ontological turn," especially with those thinkers who promote notions of radical alterity and utter incommensurability. Instead, Palmié suggests that radical comparison with "boundary objects" can offer something new to the ethnographic enterprise"--

As much a storyteller as an ethnographer, Lydia Cabrera was captivated by a strange and magical new world revealed to her by her Afro-Cuban friends in early twentieth-century Havana. In Afro-Cuban Tales this world comes to teeming life, introducing English-speaking readers to a realm of tenuous boundaries between the natural and the supernatural, deities and mortals, the spiritual and the seemingly inanimate. Here readers will find a vibrant, imaginative record of African culture transplanted to Cuba and transformed over time, a passionate and subversive alternative to the dominant Western culture of the Americas. In this charmed realm of myth and legend, imaginative flights, and hard realities, Cabrera shows us a world turned upside down. In this domain guinea hens can make dour Asturians and the king of Spain dance; little fat cooking pots might prepare their own meals; the pope can send encyclicals about pumpkins; and officials can be defeated by the shrewdness of turtles. The first English translation of one of the most important writers on African culture in the Americas, the collection provides a fascinating view of how African traditions, myths, stories, and religions traveled to the New World?of how, in their tales, Africans in the Americas created a New World all their own.