The global Ifá missionary: revisionism and Nigerian-Style Ifá-Òrìşà in Cuba -- Yorùbá geographies and the efficacy of the far: the Dùndún "talking drums" and transatlantic institutions in Havana -- Revolutionary feminism and gendered translocality: women and consecrated Batá -- Ìyánífá: gendered polarity and "speaking Ifá" -- The efficacy of pleasure and the utility of the close: regionalism and all-male egúngún masquerade -- Epilogue: the "leopards" of Nigerian-Style Ifá-Òrìşà : visions from Cuba to Yorùbáland.

"Hailing from Cuba, Nigeria, and various sites across Latin America and the Caribbean, Ifá missionary-practitioners are transforming the landscape of Ifá divination and deity (òrìşà/oricha) worship through transatlantic travel and reconnection. In Cuba, where Ifá and Santería emerged as an interrelated, Yorùbá-inspired ritual complex, worshippers are driven to "African Traditionalism" by its promise of efficacy: they find Yorùbá approaches more powerful, potent, and efficacious. In the first book-length study on music and Ifá, Ruthie Meadows draws on extensive, multi-sited fieldwork in Cuba and Yorùbáland, Nigeria to examine the contentious "Nigerian-style" ritual movement in Cuban Ifá divination. Meadows uses feminist and queer of color theory along with critical studies of Africanity to excavate the relation between utility and affect within translocal ritual music circulations. Meadows traces how translocal Ifá priestesses (Ìyánífá), female batá drummers (bataleras), and priests (babaláwo) harness Yorùbá-centric approaches to ritual music and sound to heighten efficacy, achieve desired ritual outcomes, and reshape the conditions of their lives. Within a contentious religious landscape marked by the idiosyncrasies of Revolutionary state policy, Nigerian-style Ifá-Òrìşà is leveraged to reshape femininity and masculinity, state religious policy, and transatlantic ritual authority on the island"--