MUNANSO UNGUNDO (Casa de la Ceiba): sincretismo Afrocubano de Palo Monte –Regla Bruja-

Jorge Luis Rodriguez (Stage Of The Arts, Inc.) and Beatrice M. De Oca
(Western New Mexico University)

Abstract in English language

MUNANSO UNGUNDO (House of the Ceiba): The Palo Monte -Regla Bruja- Afro-Cuban syncretism.  

To my Tata Cristóbal Orlando, Nicuago Luana; in memoriam.

During 1997 and 1998 we studied Afro-Cuban ritual music and dances in
Matanzas, Cuba. Also, we facilitated and managed the teaching of Afro-Cuban ritual music and dances in Los Angeles, California. The learning came from Afro-Cuban folk masters and the students in California where 40 non-Cubans and non-practitioners of the Afro-Cuban religions.
We focused on the Lucumi (Yoruba music and dances of the Regla de Ochá) and in the Congo (Bantú music and dances of the Regla de Palo Monte). In the original Lucumí practices an individual will be initiated and receive an Orisha (God) on his/her head; during the ritual ceremonies an initiated may be incorporating under trance the behavior of his Orisha (bajar el Santo) and show particular physical abilities and perform hard movements with total analgesia. The ritual dances are based on the “possession” of the practitioners by each different Orisha.
In the Palo Monte (Regla Conga) practices one medium will became the horse to be mounted by the mpungos (forces) guiding the visit of beings. Those Congo entities will be carried on the shoulders of the medium, not received in the head like the Lucumi Orishas.
The Afro-Cuban syncretism relates the Lucumi Orishas to the Catholic Saints in what is knows today as Santería and the Santería will turn into the syncretism with the Congo Palo Monte, the Arará, the Iyessás and the Society Abakuá.
For example: the Virgen de Regla of Christianity will be Yemayá in Lucumí, Madre de Agua in Congo, Ananú in Arará, Kedibé in Iyessá and Okande in Abakuá.

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