Laméca file

Cuban Abakuá music

SOURCES

 

Texts

Cabrera, Lydia
1954/1992. El Monte. Miami: Colección del Chicherekú.
1958. La Sociedad Secreta Abakuá: narrada por viejos adeptos. La Habana: Ediciones C. R.
1975. Anaforuana: Ritual y símbolos de la iniciación en la sociedad secreta Abakuá. Madrid: Ediciones Madrid.
1988. La Lengua Sagrada de los Ñañigos. Miami: Colección del Chicherekú en el exilio.

Carpentier, Alejo
1985. “Amadeo Roldán y la música vernácula.” Pp. 80-86. [Original essay in Carteles, 13 February 1927]; “ Sóngoro Cosongo... en París.” Pp. 120-124. [Original essay in Carteles, 23 December 1934]; “El recuerdo de Amadeo Roldán.” Pp. 130-138. [Original essay in Carteles, 4 June 1939]. Crónicas. Vol. 2. 2nd Edition. Habana: Editorial Letras Cubanas. [First Ed. 1976].

Caturla, Alejandro García
1929/1997. “Posibilidades sinfónicas de la música afrocubana.” Dos musicalia: La voz musical de Cuba. Año 1, n. 1 enero-marzo. La Habana. Pp. 28-29. [publicado originalmente en Musicalia (La Habana), numero 7, julio-agosto de 1929. ]

Caturla, Alejandro García & Alejo Carpentier
1980. “Poemas afrocubanos,” “Elegía del enkiko.” Música vocal. La Habana: Editora Musical de Cuba.
2007. Caturla, el músico, el hombre. Selección y Prólogo, Radamés Giró. La Habana: Ediciones Museo de la música.

Crow, Hugh
1830. Memoirs of the Late Captain Hugh Crow of Liverpool. London, Longman, Rees, Orme, Brown, and Green.

Goldie, the Rev. Hugh
1862/1964. A Dictionary of the Efik Language, in Two Parts. 1. Efik and English. 2. English and Efik. Westmead, England: Gregg Press (Original 1862).

Gómez-Barberas, José-Miguel ‘Batea’
2003. A three-paged manuscript, signed by Mr. Gómez, was shared among his godchildren upon his death in 2003 (one page was signed and dated as 1992). Gómez was Mokóngo of Ebión Efó from 1926-2003.

Leonard, Major Arthur Glyn
1906. The Lower Niger and Its Tribes. London: Macmillan and Co. Lo-Bamijoko, J.N. 1987. “Classification of Igbo Musical Instruments, Nigeria.” Journal of International Library of African Music. 6. 4. (Grahamstown) : pps. 19-41.

Kubik, Gerhard
1964. “Generic Names for the Mbira.” African Music: Journal of the African Music Society. Vol. 3, no. 3. Pp: 25-36.

Kubik, Gerhard
2001. “Lamellophone.” The New Grove Dictionary of Music and Musicians. Vol. 14. 2nd Ed. Ed, S. Sadie. New York: Grove. Pps. 171-181 (Vol. 14).

Miller, Ivor
2000. “A Secret Society Goes Public: The Relationship Between Abakuá and Cuban Popular Culture.” African Studies Review. vol. 43, no. 1 (April) pp. 161-88.
2004. “El tambor como madre en la sociedad Abakuá.” Madre África: conceptos maternos en escultura tradicional africana. Centro Cultural Conde/ Duque. Madrid, Spain. (April-June) : 12-16.
2005. “Cuban Abakuá chants: examining new evidence for the African Diaspora.” African Studies Review. April. v. 48, n. 1. Pps. 23-58.
2009. Voice of the Leopard: African Secret Societies and Cuba. UP of Mississippi.
2012. “Bongó Itá: Leopard Society Music and Language in West Africa, Western Cuba, and New York City.” Journal of Africa and Black Diaspora. Routledge Press. 5.1 : 85-103. Routledge Press.

Moore, Robin D.
1997. Nationalizing Blackness: Afrocubanismo and Artistic Revolution in Havana, 1920-1940. Pittsburgh: U of Pittsburgh P.

Ortiz, Fernando
1954-55. Los instrumentos de la música afrocubana, vol. 4-5. La Habana: Cárdenas y Cía.

Pavez O., Jorge
2006. “El Libro de Pinturas, de José Antonio Aponte.” Anales de Desclasificación. Vol. 1: La derrota del área cultural n° 2/.

Talbot, Percy Amaury
1926/ 1969. The Peoples of Southern Nigeria: a Sketch of Their History, Ethnology, and Languages, with an Abstract of the 1921 Census. 4 vols. London: Oxford UP.

Urua, Eno A., M. Ékpènyong & Dafydd Gibbon
2004. Uyo Ibibio Dictionary. Preprint Draft V01, 2004-06-13. ABUILD Language Documentation Curriculum Materials #1. University of Uyo, Nigeria and Universität Bielefeld, Germany.

Ward, Reverend William James
1911. In and Around the Oron Country; or The Story of Primitive Methodism in Southern Nigeria. London: W.A. Hammond.

Interview

Okpo, Ékpènyong I.
2013. Rear Admiral (rtd). Obong-Ìyámbà of Èfé Ékpè Éyo Émà Atai Esit edek.

Recordings

Abakuá. 1967. Produced by Egrem along with the ‘Academia De Ciencias De Cuba’.
Notes by Maria Teresa Linares. 33 rpm.
[*find, see : http://fidelseyeglasses.blogspot.com/2008/04/abaka-egrem-7-inch-vinyl-cuba-1967.html]

“Acere Ecobio” (Ñáñigo). 1948. Filiberto y su ritmo (Canta: Tata y Vega). Panart 78 1196-B (1948). (Gracias a Patrice en Francia y a Barry Cox)

Arsenio Rodríguez & Su Conjunto
“Mambo Abacua (Mambo).” El Alma De Cuba (Disc 6: 1951-56). Recorded in 1955 in New York City.

Arsenio Rodríguez
1963. “Canto Abakuá.” Leyendas. Recorded in 1963. CDL-81534

‘Chano’ Pozo, Luciano
2001. “Abasí.” ‘Chano’ Pozo, recorded in 1947 in New York City. Chano Pozo: el tambor de Cuba, vida y música del legendario rumbero cubano. Text by Jordi Pujol. Vols. 1–3. Tumbao Cuban Classics, TCD 305.

“Chant Abakuá”. Soliste: Jesus Perez. Rythmes de Cuba par l’ensemble national de danse de Cuba. Le chant du monde LD-S-4218. [cover in CD file, from Patrice en Francia].

Conjunto Folklorico Nacional
1964. La Habana: Areito. LDA-3156.

Courlander, Harlod
1949. “Abakwa Song.” Cult Music of Cuba. Recorded in 1940. Ethnic Folkways Library Fe4410/ Asch 78 rpm.

Dizzy Gillespie/Max Roach in Paris
1995. “Afro-Cuban Suite.” BMG Music. CD 09026-68213-2.

Ecobio Enyenison
2009. Enyenison Enkama Project. Roman Díaz, Angel Guerrero, & Pedro Martínez, Producers. New York City: Habana|Harlem™.

“Efi Embemoro.” 1936. Septeto Nacional . Bienvenido Granda con el Septeto Nacional.

“Encame de Abakuá (Efó-Efí).” 1987. Oba-Ilu. Homenaje: Jesús Pérez in Memoriam. Conjunto de percussion de Danza Nacional de Cuba. La Habana: EGREM/ Areito.

Grupo Afro-Cubano de Alberto Zayas
1950s. “Acere.” Afro-Frenetic: Tambores de Cuba. Panart Recording Corp. 276 Park Avenue. LP-3053.

Ibiono. 2001. Caribe Productions. Recorded in Havana, 2000. Produced by Dagoberto A. González, Jr. CD 9607.

Irakere
Irakere: Selección de exitos 1973-1978 (Live). “Iya”; “Aguanille Bonko.” 1978. La Habana: Areito.
1983. “Tema de Chaka.” Oscar Valdes, Jr. Irakere, Orquesta Sinfónica Nacional. EGREM.

Katherine Dunham & Ensemble
1950. Afro-Caribbean Songs & Rhythms. “Aferincomon (Nanigo), Afro-Cuban Cult Chant,” sung by Julio Mendez. 10”, Decca DL-5251. (Described as "A cult song of the secret, exclusively male society of Batonga Naroca." Decca 40029A). The Library of Congress entry reports: Published/Created: New York: Decca, 1946.

Los Muñequitos de Matanzas
1999. “Ritmo Abacua.” Rumba Abierta. Guaguancó matancero. Cuban Classics IV. Rogelio Martínez-Furé, producer. Recorded in the late 1950s. WSCD-4205.

Los Papines
1962. “Eron Gri Efo.” Oye Men Listen...Guaguancó! Bravo BR-105.

Machito
1989. “Tanga.” Mucho mucho Machito. Recorded at Capitol Studios, NYC, May 20, 1965. Palladium Latin Jazz & Dance Records. PCD 119.

Machito and His Afro-Cuban Orchestra
1993. “Tanga.” Composed by Mario Bauza. Recorded January 1949 in New York, with Flip Philips on tenor sax. The Original Mambo Kings: an Introduction to Afro-cubop. Verve 314-513-876-2.

Mongo Santamaria & Justo Betancourt
1976. Mongo & Justo “Ubane.” “Ubane (Canto Abacua). By Julito Collazo. Produced and Conducted by Marty Sheller. New York: Vaya Records, VS-44.

Música afrocubana. 1993. “Encame.” Viejos cantos afrocubanos: antología de la música afrocubana. vol. 1. performed by Victor Herrera, guía, y su grupo. Recorded in situ in 1962 by Algiers León. La Habana: EGREM. C 3325.

La Música del pueblo de Cuba: Claves, rumbas y comparsas. 1972. “Canto Abakuá”; “Marcha Abakuá.” Performed by Victor Herrera, guía, y su grupo. Recorded in situ in 1960 by Argeliers León. La Habana: Arieto. LP 3440 and 3441. Producción: Maria Teresa Lináres. This two LP set is a collection of recordings, in situ and in studio, recorded from 1950-72.

Piñeiro, Ignacio
c1925-1928. “Iyamba bero” (clave ñáñiga). Performed by Cruz, Bienvenido y Villalón. 78 rpm. Columbia records #2421-X (93950).

Rapsodia Rumbera. N.d. “Abakuá.” Compositor: D.R. vol. 2. Recorded in Havana, EGREM CD 0121. [vol. 2 is unreleased. Vol. 1 released in 1995.

Rumboleros: La Protesta Carabalí. 2004. “Protesta Carabalí.” By Reinaldo Brito del Valle. Recorded 1975, Havana. Barcelona: Envidia B60 6325. [wrongly attributed to Pedro Vero Alfonso].

Sexteto Habanero
1995. “Criolla Carabali.” Written by Guillermo Castillo, recorded 29 May 1928, New York. Sexteto Habanero 1926 - 1931, Harlequin HQ CD 53, England.

Van Van, Los
1999. “Appapas del Calabar.” Llegó... Van Van. Havana caliente - Atlantic. 832227-2.

Vera, María Teresa
1994. “En la alta sociedad.” Written by Ignacio Piñeiro. Recorded in 1956. Veinte Años. CD 0056 EGREM, Cuba.
1998. “Los cantares del Abacua.” Written by Ignacio Piñeiro. Recorded in 1923. Maria Teresa Vera y Rafael Zequeira: El legendario dúo de la trova cubana. Grabaciones históricas 1916 - 1924. Tumbao TCD 090.

Yoruba Andabo
1993. Yoruba Andabo: el callejón de los rumberos. “Enyenisón Enkama Africa habla” (Abakuá). Arrangement of traditional material and lead voice, Ogduardo ‘Román’ Díaz Anaya. La Habana: CDPm Records 2039. Recorded in EGREM Studios, 1992.
1997. “Enyenison enkama II.” Arranger and lead voice, O. ‘Román’ Díaz. Yoruba Andabo: Del Yoruba al Son. Universal CD FMD 75141, La isla de la música, vol. 6.

Film

Conjunto Abakuá. 1962. Victor Herrera, director. Cortos Metrajes, ICAIC, Havana. 20 minutes.

Radio program

2007. Afropop Worldwide (N.P.R.). The voice of the Leopard. Ned Sublette interviews Dr Ivor Miller. 59 minutes.
Fully available here :
https://soundcloud.com/afropop-worldwide/the-voice-of-the-leopard

 

______________________________________

SUMMARY
1. The Abakuá institution : a Carabalí foundation in Cuban society
2. Styles of Abakuá music : Nyánkue rites; Efó and Efí lineages; the lamellophone; percussion instruments
3. Abakuá ceremonial music
4. Abakuá influence in Cuban popular music
Musical examples
Glossary
Sources

______________________________________

By Dr Ivor L. Miller

© Médiathèque Caraïbe / Conseil Départemental de la Guadeloupe, 2016