Finalist for the 2014 Albert J. Raboteau Prize for the Best Book in Africana Religions presented by the Journal of Africana Religions This is the first collection of essays to analyze intersectional religious and cultural practices surrounding the deity Yemoja. In Afro-Atlantic traditions, Yemoja is associated with motherhood, women, the arts, and the family. This book reveals how Yemoja traditions are negotiating gender, sexuality, and cultural identities in bold ways that emphasize the shifting beliefs and cultural practices of contemporary times. Contributors come from a wide range of fields—religious studies, art history, literature, and anthropology—and focus on the central concern of how different religious communities explore issues of race, gender, and sexuality through religious practice and discourse. The volume adds the voices of religious practitioners and artists to those of scholars to engage in conversations about how Latino/a and African diaspora religions respond creatively to a history of colonization.

Bridges theory, art, and practice to discuss emerging issues in transnational religious movements in Latina/o and African diasporas. This is the first collection of essays to analyze intersectional religious and cultural practices surrounding the deity Yemoja. In Afro-Atlantic traditions, Yemoja is associated with motherhood, women, the arts, and the family. This book reveals how Yemoja traditions are negotiating gender, sexuality, and cultural identities in bold ways that emphasize the shifting beliefs and cultural practices of contemporary times. Contributors come from a wide range of fields—religious studies, art history, literature, and anthropology—and focus on the central concern of how different religious communities explore issues of race, gender, and sexuality through religious practice and discourse. The volume adds the voices of religious practitioners and artists to those of scholars to engage in conversations about how Latino/a and African diaspora religions respond creatively to a history of colonization.

Yemoja/Olokun is the name is the name of two spiritual forces in the West African religious tradition called Ifa. The word Yemoja is an elision of the Yoruba Oriki (praise name ) Yeye mo oja, which means Mother of Fish. The word Olukun is a contraction of Olohun meaning owner, and okun meaning ocean. Both of these words are the names given to describe a complex convergence of Spiritual Forces that are key elements in the Ifa concept of fertility. Those Spritual Forces that form the foundation of Yemoja and Olokun's role in the Spirit Realm relate to the relationship between water and birth. .

How can we account for the power of ritual? This is the guiding question of Black Critics and Kings, which examines how Yoruba forms of ritual and knowledge shape politics, history, and resistance against the state. Focusing on "deep" knowledge in Yoruba cosmology as an interpretive space for configuring difference, Andrew Apter analyzes ritual empowerment as an essentially critical practice, one that revises authoritative discourses of space, time, gender, and sovereignty to promote political—-and even violent—-change. Documenting the development of a Yoruba kingdom from its nineteenth-century genesis to Nigeria's 1983 elections and subsequent military coup, Apter identifies the central role of ritual in reconfiguring power relations both internally and in relation to wider political arenas. What emerges is an ethnography of an interpretive vision that has broadened the horizons of local knowledge to embrace Christianity, colonialism, class formation, and the contemporary Nigerian state. In this capacity, Yoruba òrìsà worship remains a critical site of response to hegemonic interventions. With sustained theoretical argument and empirical rigor, Apter answers critical anthropologists who interrogate the possibility of ethnography. He reveals how an indigenous hermeneutics of power is put into ritual practice—-with multiple voices, self-reflexive awareness, and concrete political results. Black Critics and Kings eloquently illustrates the ethnographic value of listening to the voice of the other, with implications extending beyond anthropology to engage leading debates in black critical theory.

Yemoja, according to Yoruba myth, is the goddess of the river. This re-working of the legend in dramatic form is a celebration of the river goddess and traditional Yoruba cosmology. The author tells the story in a language influenced by Yoruba symbolism and metaphor, inclusive of chants and speeches in the Yoruba language. He seeks to enhance knowledge and appreciation about the Yoruba cultural tradition, exploring the links between past and modern identities. The rendition emphasises the social preoccupations and human traits and emotions of the goddess according to her story: kindness, anger, jealousy, envy, trust and betrayal.

A celebration and practical guide to the renowned and beloved goddess and orisha. Yemaya, queen of the sea, first emerged in Yorubaland (now in modern Nigeria). A primordial deity, considered the mother of all, some perceive her to be at the root of numerous ancient goddesses, including Isis. During the Middle Passage, Yemaya accompanied her enslaved devotees to the Western Hemisphere, where her veneration took root and flourished. She is among the most beloved and prominent spirits of Candomblé, Santeria, and other African diaspora traditions. Through her associations with the Virgin Mary, devotion to Yemaya spread throughout Latin America. Cuban immigrants brought Yemaya with them to the US, where her veneration expanded exponentially. No longer a local water spirit, she became an internationally beloved goddess whose devotees derive from numerous traditions and who worship her in her many fluid forms. Yemaya currently ranks among the most beloved goddesses worldwide. Raven Morgaine, a priest of Yemaya for over three decades, shares his expertise and knowledge in Yemaya: Orisha, Goddess, and Queen of the Sea, the first full-length English language book accessible to general readers. Morgaine explores Yemaya’s history and her many forms, including her roles as mother, lover, witch, warrior, and mermaid. He describes her many paths, aspects, and incarnations. Simultaneously a celebration of Yemaya and a practical, hands-on guide to working with her, Yemaya explores her mythology in depth, as well as her special role in the LGBQT community. The book features: Spells and rituals associated with Yemaya appropriate for the uninitiated Instructions for building altars and shrines for Yemaya, as well as other methods for working with her, including correct, respectful ways to make appropriate offerings Recipes that will please Yemaya A detailed list of flowers, herbs, and other botanicals that radiate the power of Yemaya

Recovering the African Feminine Divine in Literature, the Arts, and Performing Arts: Yemonja Awakening provides context to the myriad ways in which the African feminine divine is being reclaimed by scholars, practitioners and cultural scholars worldwide. This volume addresses the complex ways in which the reclamation of and recognition of Yemonja facilitates cultural survival and the formation of African -centric identity. These cultural practices are symbolically represented by Yemonja, the African female deity who is the mother of the entire world of the Orisha. Also known as Yemaya, Iemanya and Yemaya-Olokun, Yemonja is the deity whose province is the ocean and, given that the Middle Passage was the cultural and spatial crossroad to Africa’s numerous diasporas, this deity links the shared histories of African and African –descent cultural praxis worldwide. Since Yemonja also references sexual, creative, spatial and spiritual energies, the editors and contributors see her as pivotal to this project as an expansive and original cartography of impact of the African feminine divine globally. This work provides the context for understanding how the spiritual conceptualizations of the African feminine divine underpin critical cultural forms, even when it has been previously unacknowledged and despite the cultural encounters with European and Western models of being. Scholars of African diaspora studies and the arts will find this book particularly interesting.