Cover
title | : | Drumming for the Gods : The Life and Times of Felipe Garca Villamil, Santero, Palero, and Abaku Studies in Latin American and Caribbean Music |
author | : | Vlez, Mara Teresa. |
publisher | : | Temple University Press |
isbn10 | asin | : | 1566397308 |
print isbn13 | : | 9781566397308 |
ebook isbn13 | : | 9780585388724 |
language | : | English |
subject | Garca Villamil, Felipe,--1931- , Drummers (Musicians)--Cuba--Biography, Santeria music--History and criticism, Blacks--Cuba--Religion. |
publication date | : | 2000 |
lcc | : | ML419.G363V45 2000eb |
ddc | : | 786.9/092 |
subject | : | Garca Villamil, Felipe,--1931- , Drummers (Musicians)--Cuba--Biography, Santeria music--History and criticism, Blacks--Cuba--Religion. |
Page i
DRUMMING FOR THE GODS
IN THE SERIES
Studies in Latin American and Caribbean Music,
edited by Peter Manuel
Page ii
Page iii
Mara Teresa Vlez
DRUMMING FOR THE GODS
The Life and Times of Felipe Garca Villamil,
SANTERO, PALERO, and ABAKU
T E M P L E U N I V E R S I T Y P R E S S P H I L A D E L P H I A
Page iv
Temple University Press, Philadelphia 19122
Copyright 2000 by Temple University
All rights reserved
Published 2000
Printed in the United States of America
The paper used in this publication meets the requirements of the American National Standard for Information SciencesPermanence of Paper for Printed Library Materials, ANSI Z39.481984
Library of Congress Cataloging-in-Publication Data
Vlez, Mara Teresa, 1952
Drumming for the gods : the life and times of Felipe Garca
Villamil, santero, palero, and abaku / by Maresa Vlez.
p. cm. studies in Latin American and Caribbean music)
Includes bibliographical references (p. ) and index.
ISBN 1-56639-730-8 (cloth: alk. paper). ISBN 1-56639-731-6
(pbk.: alk. paper)
1. Garcia Villamil, Felipe, 1931 . 2. Drummers (Musicians)
CubaBiography. 3. Santeria musicHistory and criticism.
4. BlacksCubaReligion. I. Title. II. Series.
ML419.G363V45 2000
786.9092
[B]DC21
99029450
Frontispiece: Felipe Garca Villamil playing a bat drum.
(Photo by Adriana Groisman)
Page v
CONTENTS
Acknowledgments | ix |
A Note on Spelling | xi |
Prologue | xiii |
|
|
PART ONE: Learning the Trade |
Background | 3 |
Entrance into the Afro-Cuban Religious World | 11 |
Overview | 11 |
Entering Felipe's House | 23 |
Santeria: The Lucumi Door | 23 |
Palo Monte: The Congo Door | 30 |
The Abaku Society: A Secret Passage from Calabar | 34 |
Early Musical Experiences | 36 |
Learning to Play Bat | 39 |
History of the Drums | 50 |
Other Bat Lineages in Matanzas | 58 |
Other Drumming Traditions in Matanzas | 60 |
Page vi
|
|
PART TWO: Life as a Musician during the Revolution |
Making Ends Meet | 69 |
Becoming a Cultural Worker | 71 |
Performing Afro-Cuban Religious Music in Secular Public Contexts | 75 |
Amateur Groups | 77 |
Organizing a Professional Folkloric Ensemble | 78 |
Negotiating the Limits of Secrecy | 80 |
Performing Other Afro-Cuban Secular and Sacred Drumming Styles | 85 |
Performing Afro-Cuban Religious Music in Private Ritual Contexts | 87 |
Searching for Alternatives: Becoming a Craftsman of |
Religious Objects | 94 |
Crafting a Bemb Drum: Manufacturing Material Cultureto Obey the Orichas | 97 |
|
|
PART THREE: Life as a Diasporic Musician |
Leaving Cuba | 107 |
Building the Present: Exercising His Trade in His New Home | 111 |
The Tools of the Trade | 117 |
Instruments as Immigrants: A Crosses the Ocean | 117 |
Applying Cultural Memory: Making Instruments | 119 |
Bat Drums | 120 |
Bemb Drums | 127 |
Iyes Drums | 128 |
Page vii
Drums as an Extension of the Self, as a Source of Living, as Life Itself | 130 |
The Artisan Transformed into an Artist | 131 |
Felipe's There Faces His Here | 134 |
Felipe's Concept of Tradition | 138 |
Syncretism | 139 |
The Marielitos | 142 |
The Orichas Behave Different Here | 149 |
Confronting the Written | 151 |
The Struggle of Memory over Forgetting | 153 |
Teaching as a Way of Remembering | 153 |
Teaching Women to Play Bat | 155 |
Singing as a Way of Remembering | 158 |
|
|
Epilogue | 163 |
Notes | 171 |
Bibliography | 185 |
Glossary | 193 |
Index | 203 |
Photographs follow page |
|
Page viii
Page ix
ACKNOWLEDGMENTS
Customarily, in this section of a book a number of institutions that have contributed to make the research and writing process possible are acknowledged. In my case I have to thank not an institution but a network of wonderful friends who, through many years, have helped me in ways that would take another life history (mine) to describe. Thus, with profound gratitude, I list their names first.
The place of honor in this list belongs to Felipe Garca Villamil and his wife, Valeria, and to my friends (alphabetically by first name): Adriana Groisman, Ana Caona Ellis, Angela Mara Prez, Beatriz Smith, Carmen Diaz, David Burrows, Karen Jefferson, Krishna K. Candeth, Linda Pelc, Lyndell Brookhouse-Gil, Michael Smith, Mnica Vlez, Nanette Garcia, Olga Vieira, Oscar Correa, and Rodrigo Henao. Gracias .
My gratitude goes also to the many santeros, paleros, and musicians who during these years contributed to make this research possible, and especially to Gregg Askew, Judith Gleason, Louis Bauzo, Milton Cardona, Teddy Holiday, and Jessy Feldman.
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