Cuban history and culture are important in the novel, including important historical events and the elements of Santería that appear throughout the novel.
Santería, a syncretic religion also called La Regla de Ocha or La Regla Lucumi
Yasmin Deliz as Chita: Yasmin was a little worried about performing a Santería ritual but was willing to do it after reassurance from her mom that God was on her side.
A man who has undergone the Initiation known as "Kariocha" in the Santería religion, also known as "making the Saint" (Spanish: Hacer Santo) where his tutelary deity is crowned over his head.
While Santería sings praise to Elegua, the "one who opens doors," Danayda plays the drum and professes her commitment to Judaism.
Untitled (Ochún) (1981), named for the Santería goddess of waters, once pointed southward from the shore at Key Biscayne, Florida.
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Mary Jane Jacob suggests in her book Ana Mendieta: The "Silueta" Series (1973-1980) that much of Mendieta's work was influenced by her interest in the religion Santería, as well as a connection to Cuba.
Congas and Bongos are essential to all kinds of Latin American music, especially that of the Caribbean and South American regions, used in both folklore (Punta, Santeria, Rumba, etc.) and popular music such as Merengue, Salsa, Son, Boleros, Bachata, Cumbia, latin jazz, and others.
Lucumi language, a Yorùbá dialect and the liturgical language of Santería
Some time after the publication of Mama Lola, Alourdes "made Ocha" (initiating herself into the Santeria religion) (400).
The María Lionza religion, similar in most aspects to Santería, lies in the indigenous bemountain of Sorte, in Yaracuy state, Venezuela, which is central to the religion.