Skip to main content

Beyond the Archive: The Cabrera-Tarafa Collection of Afro-Cuban Music, circa 1956: Songs for Osain. Cándido Martínez, Baba orisha from Havana.

Beyond the Archive: The Cabrera-Tarafa Collection of Afro-Cuban Music, circa 1956
Songs for Osain. Cándido Martínez, Baba orisha from Havana.
    • Notifications
    • Privacy
  • Project HomeBeyond the Archive
  • Projects
  • Learn more about Manifold

Notes

Show the following:

  • Annotations
  • Resources
Search within:

Adjust appearance:

  • font
    Font style
  • color scheme
  • Margins
table of contents
  1. Beyond the Archive: The Cabrera-Tarafa Collection of Afro-Cuban Music, circa 1956
  2. An Introduction to the Collection
  3. Música de los cultos africanos en Cuba (Music of the African Cults in Cuba): The Liner Notes
    1. Oro. Marcos Portillo Domínguez [Até Borá] and ensemble.
    2. Rezos. Fernando Hernández, Inés Sotomayor, and Domingo Hernández.
    3. “Guarachitas” para los Orishas (Instrumental Batá Drumming). Miguel Santa Cruz, Gustavo Díaz, and Juan González.
    4. Songs for Osain. Cándido Martínez, Baba orisha from Havana.
    5. Oro. Inés Sotomayor and Ensemble.
    6. Oro de Tambores (Batá Drum Instrumental Oro). Miguel Santa Cruz, Gustavo Díaz, and Juan González.
    7. Oro (Batá Drums with Chorus). Cándido Martínez, Antonio Alberiche, chorus, and the Batá drums of Miguel Santa Cruz and Juan González.
    8. Moforibale. Palo Gangá Ñongobá. Cantos de Palo. Congo Musunde and Gangá. Florinda Pastor, Agustín Diago, and ensemble.
    9. Oro. Silvino Baró, M. Catalá, S. Rodríguez, R. Viart.
    10. Mayimbi. Toque de Palo. Silvino Baró, Martín Catalá, Sergio Rodríguez, and Rodolfo Viart.
    11. Canto Lucumí. Silvino Baró, Martín Catalá, Sergio Rodríguez, and Rodolfo Viart.
    12. Cantos Arará. Silvino Baró, Martín Catalá, Sergio Rodríguez, and Rodolfo Viart.
    13. Rezos. Petronila Hernández.
    14. Babaluayé. A. Alberiche.
    15. Bembé & Tambores (Instrumental Drumming). Domingo Hernández, Marcelo Carreras, Ángel Rolando, and Domingo Hernández, hijo. Tambores and guataca.
    16. Oro. Alberto Yenkins (Yin) and ensemble.
    17. Itutu. Fernando Hernández and ensemble.
    18. Oro. Cándido Mártinez and ensemble.
    19. Congo and Gangá Songs. Florinda Diago and family.
    20. About This Site.

Songs for Osain. Cándido Martínez, Baba orisha from Havana

We recorded seven of the sixteen or twenty-one Ankori in the Oro which an Oriaté — the person directing a ceremony — intones for Osáin, the Owner of El Monte, while the Iyalochas responsible for the chorus, sitting at their respective clay pots, each pot painted with the emblematic color the Orisha they serve, prepare the ritual herbs which constitute the Omiero, the agua lustral (cleansing or holy water) for the great Asiento[1] ceremony or the consecration of the Iyawó.

Like every Oro, its prayers begin with a salute to Elegua.

  1. DF-N: Idiomatically, asiento refers to orisha initiation (i.e., seating, installation, ordination, etc.). As a term of art in colonial Cuba, asiento also refers a “special monopolistic license” authorized by the Spanish crown (Martínez-Fernández 2018, 157). In this second sense, the initiation of an orisha priest confers Afro-centric royal authority. [ ***]. ↑

Annotate

Next Chapter
Oro. Inés Sotomayor and Ensemble.
PreviousNext
Texts
Creative Commons license CC BY-NC-ND 4.0
Powered by Manifold Scholarship. Learn more at
Opens in new tab or windowmanifoldapp.org