Bantu, also called Batuque or Angola, is one of the major sects (nations) of Candomblé, an Afro-American religion practised in Brazil. It developed among slaves who spoke Bantu (Kikongo and Kimbundo) languages. Candomblé Bantu - Deities. The supreme God and Creator is Zambi or Zambiapongo; below him are the Inkices, the spirit-gods of Bantu mythology. These deities correspond to Olorun and the Orishas of Yoruba mythology, and to Olorum and the Orixá of Candomblé Ketu.

Including:

Candomblé Bantu - Deities

Read more here: » Candomblé Bantu: Encyclopedia - Candomblé Bantu

Lukumí, Regla de Ocha or Afro-Cuba, most widely known as Santeria, (Santería in Spanish) is a set of related religious systems that superficially seem to fuse Catholic beliefs with traditional Yoruba beliefs. In the Yoruba language, Lukumí means "friends" and also applies to descendants of Yorùbá slaves in Cuba, their music and dance, and the cubanized dialect of the Yorùbá language. Lukumí - History. The name Lucumi originated from present-day Nigeria. The Yoruba people ...

Including:

Lukumí - History Lukumí - Beliefs and Rituals

Read more here: » Lukumí: Encyclopedia - Lukumí

Candomblé Ketu' (or Queto in Portuguese spelling) is the largest and most influential nation (sect) of Candomblé, an Afro-American religion widely practiced in Brazil. Its beliefs and rituals are similar to those of other Candomblé nations in general terms, but different in almost every detail. Although related to the batuque cults that started in the late 1500s, Ketu developed mostly in the early 19th century, chiefly in the region of Bahia, among slaves belonging to the Yoruba (Iorubá) ethnic g ...

Including:

Candomblé Ketu - Deities Candomblé Ketu - Ritual language Candomblé Ketu - Hierarchy

Read more here: » Candomblé Ketu: Encyclopedia - Candomblé Ketu

The natives of Cuba were the Taíno, Arawak and Ciboney people, known for a style of music called areito. Large numbers of African slaves and European immigrants brought their own forms of music to the island. European dances and folk musics included zapateo, fandango, zampado, retambico and canción. Later, northern European forms like waltz, minuet, gavotte and mazurka appeared among urban whites. Fernando Ortíz, a Cuban folklorist, described Cuba's musical innovations as arising from the interplay between African slaves settled on large ...

See also:

Music of Cuba, Music of Cuba - Folk music, Music of Cuba - Guajira, Music of Cuba - Música campesina, Music of Cuba - Classical music, Music of Cuba - Danzón, Music of Cuba - Changuí, Music of Cuba - Rumba, Music of Cuba - Diversification and Popularization, Music of Cuba - 1920s and 30s, Music of Cuba - 1940s and 50s, Music of Cuba - 1960s and 70s, Music of Cuba - 1980s and 90s, Music of Cuba - Timba, Music of Cuba - Buena Vista Social Club, Music of Cuba - External link

Read more here: » Music of Cuba: Encyclopedia II - Music of Cuba - Folk music

Brazilian slaves came from a number of ethnic groups, including Yoruba, Ewe, Fon, and Bantu. Slave handlers classified them by the shore of embarkment, so the relation to their actual ethnicity may be accurate or not. As the religion developed semi-independently in different regions of the country, among different ethnic groups, it evolved into several "sects" or nations (nações), distinguished chiefly by the set of worshipped deities, as well as the m ...

See also:

Candomblé, Candomblé - Nations, Candomblé - Beliefs, Candomblé - Syncretism, Candomblé - Rituals, Candomblé - Temples and priesthood, Candomblé - Books

Read more here: » Candomblé: Encyclopedia II - Candomblé - Nations

The name Lukumi originated from present-day Nigeria. The Yoruba people of Nigeria were initially called the Lukumi which was supposed to be from the word "Olokun mi"(my dear one). The name Yoruba is popularly believed to have been derived from a Hausa ethnonym for the populous people to their south, but this legend has not been substantiated by historians. The term first appeared in a treatise written by the Songhai scholar Ahmed Baba, and is likely to derive from the Oyo or Yagba, two Yoruba-speaking groups along the northern borders of their terrority. However, it is likely that the ethnonym was popularized by Hausa usage and ethno ...

See also:

Lukumí, Lukumí - History, Lukumí - Beliefs and rituals

Read more here: » Lukumí: Encyclopedia II - Lukumí - History

The name Lucumi originated from present-day Nigeria. The Yoruba people of Nigeria were initially called the Lukumi which was supposed to be from the word "Olokun mi"(my dear one). The name Yoruba (Yariba by the Hausa) was later used by those who came in contact with the Yoruba from the North, having heard of the 'Yariba people in the South'. Lukumí originated in Cuba and was historically practised by descendants of west African slaves, when slave owners purposely divided slave families and mixed members of different African ethnic gr ...

See also:

Lukumí, Lukumí - History, Lukumí - Beliefs and Rituals

Read more here: » Lukumí: Encyclopedia II - Lukumí - History

After a nomination for Best Breakthrough Act in the "Blitz Music Awards" (organized by the Blitz music newspaper) with their first album in 1993, Da Weasel won the paper's "Band of the Year" award with Dou-lhe Com A Alma in 1994. From their third album, 3º Capítulo, the single "Todagente" yielded a "Best Song" award in 1997. At the 2004 MTV Europe Music Awards Da Weasel got ...

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Da Weasel, Da Weasel - Awards, Da Weasel - Discography

Read more here: » Da Weasel: Encyclopedia II - Da Weasel - Awards

The candomblé ritual (toque) has two parts: the preparation, attended only by priests and initiates, which may start a week in advance; and a festive public "mass" and banquet that starts in the late evening and ends around midnight. In the first part, initiates and aides wash and iron the costumes for the ceremony, and decorate the house with paper flags and festoons, in the colors favored by the Orixas that are to be honored on that occasion. They also prepare food for the banquet. Some domestic animals are slaughtere ...

See also:

Candomblé, Candomblé - Nations, Candomblé - Beliefs, Candomblé - Syncretism, Candomblé - Rituals, Candomblé - Temples and priesthood, Candomblé - Books

Read more here: » Candomblé: Encyclopedia II - Candomblé - Rituals

Over the centuries Candomblé has incorporated many elements from Christianity. Crucifixes are sometimes displayed in candomblé temples, and the African deities were often identified with specific Catholic saints. This syncretism was in part a reaction to Church-inspired persecution by authorities and slave owners, who viewed Candomblé as paganism and witchcraft. Indeed, there are reports of Christian devotional altars being used in early slave houses to hide African cult icons and ritual objects. Even after the end of slavery, the claim t ...

See also:

Candomblé, Candomblé - Nations, Candomblé - Beliefs, Candomblé - Syncretism, Candomblé - Rituals, Candomblé - Temples and priesthood, Candomblé - Books

Read more here: » Candomblé: Encyclopedia II - Candomblé - Syncretism

Candomblé temples are called houses (casas), plantations (roças), or yards (terreiros). Most Candomblé houses are small, independently owned and managed by the respective higher priests (father- or mother-of-saint). A few of the older and larger houses have a more institutional character and more formal hierarchy. There is no central administration. Candomblé priesthood is organized into symbolic families, whose members are not necessarily relatives in the common sense. Each fami ...

See also:

Candomblé, Candomblé - Nations, Candomblé - Beliefs, Candomblé - Syncretism, Candomblé - Rituals, Candomblé - Temples and priesthood, Candomblé - Books

Read more here: » Candomblé: Encyclopedia II - Candomblé - Temples and priesthood

Music of Cuba - 1920s and 30s. Son music came to Havana in 1920 (see 1920 in music) due to the efforts of legendary groups like Trío Matamoros. Son was urbanized, with trumpets and other new instruments, leading to its tremendous influence on most later forms of Cuban music. In Havana, influences such as American popular music and jazz via the radio were adopted. The son trios gave way to the septets, including guitar or tres, marímbulas or double bass, bongos, claves and maracas. The trumpet was introduced in 1926. Lead singers improvised lyrics and embellish ...

See also:

Music of Cuba, Music of Cuba - Folk music, Music of Cuba - Guajira, Music of Cuba - Música campesina, Music of Cuba - Classical music, Music of Cuba - Danzón, Music of Cuba - Changuí, Music of Cuba - Rumba, Music of Cuba - Diversification and Popularization, Music of Cuba - 1920s and 30s, Music of Cuba - 1940s and 50s, Music of Cuba - 1960s and 70s, Music of Cuba - 1980s and 90s, Music of Cuba - Timba, Music of Cuba - Buena Vista Social Club, Music of Cuba - External link

Read more here: » Music of Cuba: Encyclopedia II - Music of Cuba - Diversification and Popularization

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