CONTENTS
Acknowledgments
A Note on Spelling
Prologue
PART ONE: Learning the Trade
Background
Entrance into the Afro-Cuban Religious World
Overview
Entering Felipe's House
Santeria: The Lucumi Door
Palo Monte: The Congo Door
The Abakua Society: A Secret Passage from Calabar
Early Musical Experiences
Learning to Play Bata
History of the Drums
Other Bata Lineages in Matanzas
Other Drumming Traditions in Matanzas
PART TWO: Life as a Musician During the Revolution
Making Ends Meet
Becoming a "Cultural Worker"
Performing Afro-Cuban Religious Music in Secular Public Contexts
Amateur Groups
Organizing a Professional Folkloric Ensemble
Negotiating the Limits of Secrecy
Performing Other Afro-Cuban Secular and Sacred Drumming Styles
Performing Afro-Cuban Religious Music in Private Ritual Contexts
Searching for Alternatives: Becoming a Craftsman of Religious Objects
Crafting a Bembe Drum: "Manufacturing" Material Culture to Obey the Orichas
PART THREE: Life as a Diasporic Musician
Leaving Cuba
Building the Present: Exercising His Trade in His New Home
The Tools of the Trade
Instruments as Immigrants: Ana Grosses the Ocean
Applying "Cultural Memory": Making Instruments
Bata Drums
Bembe Drums
Iyesa Drums
Drums as an Extension of the Self, as a Source of Living, as Life Itself
The Artisan Transformed into an Artist
Felipe's "There" Faces His "Here"
Felipe's Concept of Tradition
Syncretism
The Marielitos
"The Orichas Behave Different Here"
Confronting the Written
The Struggle of Memory over Forgetting
Teaching as a Way of Remembering
Teaching Women to Play Bata
Singing as a Way of Remembering
Epilogue
Notes
Bibliography
Glossary
Index
