David H. Brown

• List of Illustrations Preface Acknowledgements Introduction Part I: Institutional and Ritual Innovation 1. Black Royalty: New Social Frameworks and Remodeled Iconographies in Nineteenth-Century Havana 2. From Cabildo de Nacíon to Casa-Templo: The New Lucumí, Institutional Reform, and the Shifting Location of Cultural Authenticity 3. Myths of the Yoruba Past and Innovations of the Lucumí Present: The Narrative Production of Cosmology, Authority, and Ritual Variation Part II: Iconographic Innovation 4. Royal Iconography and the Modern Lucumí Initiation 5. "The Palace of the Obá Lucumí" and the "Creole Taste": Innovations in Iconography and Meaning Conclusion Appendix 1: Fredrika Bremer’s Description of a Sunday Afternoon Drumming in a Havana Lucumí Calbido, 1853 Appendix 2: Irene Wright’s Description of Her Visit to "African Cabildo" in El Cerro, 1910 Appendix 3: The "Regular" Ifá-Centric Initiation versus the Ocha-Centric Initiation Appendix 4: The Oriate’s Counternarrative to Ifa-Centric Ocha Practive Appendix 5: Calendar of Oricha and Saint Feasts Days Appendix 6: Oral Data from Fieldwork: Interviews, Personal Communications and Correspondence Notes Glossary Works Cited Index

David H. Brown

• List of Illustrations Preface Acknowledgements Introduction Part I: Institutional and Ritual Innovation 1. Black Royalty: New Social Frameworks and Remodeled Iconographies in Nineteenth-Century Havana 2. From Cabildo de Nacíon to Casa-Templo: The New Lucumí, Institutional Reform, and the Shifting Location of Cultural Authenticity 3. Myths of the Yoruba Past and Innovations of the Lucumí Present: The Narrative Production of Cosmology, Authority, and Ritual Variation Part II: Iconographic Innovation 4. Royal Iconography and the Modern Lucumí Initiation 5. "The Palace of the Obá Lucumí" and the "Creole Taste": Innovations in Iconography and Meaning Conclusion Appendix 1: Fredrika Bremer’s Description of a Sunday Afternoon Drumming in a Havana Lucumí Calbido, 1853 Appendix 2: Irene Wright’s Description of Her Visit to "African Cabildo" in El Cerro, 1910 Appendix 3: The "Regular" Ifá-Centric Initiation versus the Ocha-Centric Initiation Appendix 4: The Oriate’s Counternarrative to Ifa-Centric Ocha Practive Appendix 5: Calendar of Oricha and Saint Feasts Days Appendix 6: Oral Data from Fieldwork: Interviews, Personal Communications and Correspondence Notes Glossary Works Cited Index

David H. Brown

• List of Illustrations Preface Acknowledgements Introduction Part I: Institutional and Ritual Innovation 1. Black Royalty: New Social Frameworks and Remodeled Iconographies in Nineteenth-Century Havana 2. From Cabildo de Nacíon to Casa-Templo: The New Lucumí, Institutional Reform, and the Shifting Location of Cultural Authenticity 3. Myths of the Yoruba Past and Innovations of the Lucumí Present: The Narrative Production of Cosmology, Authority, and Ritual Variation Part II: Iconographic Innovation 4. Royal Iconography and the Modern Lucumí Initiation 5. "The Palace of the Obá Lucumí" and the "Creole Taste": Innovations in Iconography and Meaning Conclusion Appendix 1: Fredrika Bremer’s Description of a Sunday Afternoon Drumming in a Havana Lucumí Calbido, 1853 Appendix 2: Irene Wright’s Description of Her Visit to "African Cabildo" in El Cerro, 1910 Appendix 3: The "Regular" Ifá-Centric Initiation versus the Ocha-Centric Initiation Appendix 4: The Oriate’s Counternarrative to Ifa-Centric Ocha Practive Appendix 5: Calendar of Oricha and Saint Feasts Days Appendix 6: Oral Data from Fieldwork: Interviews, Personal Communications and Correspondence Notes Glossary Works Cited Index