Elementos de identidade
Código de referência
Nome e localização da entidade custodiadora
Nível de descrição
- 1910-1991 (Produção)
Nome do produtor
Lydia Cabrera was born in Havana, Cuba on May 20, 1899. Her father, Raimundo Cabrera, was a lawyer. He was a member of the pro-independence intellectuals known as the “generation of 1868” and founder of the literary and political magazine Cuba y America. Lydia, an avid reader, was taught at home. She was strongly influenced by her father’s nationalist feelings and cultural background, her sister Emma’s love of art, and her nannies’ African and Afro Cuban stories, language and traditions.
Lydia completed her secondary school without ever attending classes and started auditing college courses. Although she published her first articles in the Diario de la Marina at age eighteen, her first love was painting, and she attended the San Alejandro Academy of Arts for a brief period.
In 1927, Cabrera moved to Paris to study painting and remained in France for eleven years. Graduating from L'Ecole du Louvre in 1930, she subsequently studied with Russian exile artist Alexandra Exter. During this time, Lydia began to study Asian cultures and religions, and her research in this area lead to a renewed interest in Afro Cuban culture. Later in her life, Cabrera stated that she “discovered Cuba in the banks of the Seine”.
During short trips to her native country while living in Paris, Cabrera began to make preliminary contacts with the future informants of her ethnology research. Back in Paris, she wrote her first Cuentos Negros. The stories were read at literary gatherings and later published in several reviews such as Cahiers du Sud, Revue de Paris, and Les Nouvelles Littéraires. A French translation by literary critic Francis de Miomandre was published by Gallimard in 1936 as a collection entitled Contes Nègres de Cuba.
Cabrera returned to Cuba in 1938 with the purpose of doing research on the subject of folklore, conscious of the need to preserve this vital element of Cuban culture for posterity. The first Spanish edition of Cuentos negros de Cubawas published in1940 in Havana; a second work of fiction, ¿Por Qué? Cuentos Negros de Cuba, Colección del Chicherekú, was published in 1948.
Cabrera distinguished her work by writing with a new voice and style and positioned herself at the forefront by conducting field research, which required her to spend years gaining the trust of her informants. She traveled within the island conducting interviews, collecting oral histories, recording stories and music, documenting rituals and practices, and cataloging “Africanisms” of Cuban Spanish. The result was El Monte (The Forest or The Wilderness), published in 1954, a formative work on Afro Cuban religions and liturgy.
Cabrera left Cuba as an exile in 1960 and she did not produce any writing for ten years. In 1970, Cabrera published Otán Iyebiyé, Las Piedras Preciosasand in 1971 the third volume of “cuentos negros” Ayapá: Cuentos de Jicotea, followed by other publications. She published one of her most well known works, Anaforuana, about the secret Abakuá society, in 1975. Her writings in exile are considered by some critics to be among her best because of the intellectual and emotional maturity she had achieved. She had become internationally recognized and honored for her contributions to literature, ethnology and anthropology.
She died in Miami on September 19th, 1991. During her long and prolific career Cabrera produced what is considered the most complete and important body of research on Afro Caribbean religions and folklore. She was one of the first to recognize the richness of African culture and its vital contributions to Cuban identity. Her work remains a leading authority of Afro Cuban culture.
Elementos de conteúdo e estrutura
Âmbito e conteúdo
The Lydia Cabrera papers document the life and career of writer and ethnographer Lydia Cabrera, one of the 20th century’s leading writers on Cuban folklore and an internationally known chronicler of Afro-Cuban culture and religion. The materials include correspondence, manuscripts of her works, field notes,interviews, photographs, illustrations, and memorabilia. This collection also contains documentation about the restoration of several colonial buildings in Cuba.
A highlight of the collection are the libretas, or notebooks, collected by Cabrera from Santeria priests and priestesses that document rituals and religious practices of the Afro-Cuban faith. These are found in Series 3 along with her manuscripts and field notes.
Part of this collection has been digitized and is available in the University of Miami Digital Collections online repository.
Sistema de organização
Condições de acesso e uso dos elementos
Condições de acesso
Condiçoes de reprodução
Idiomas do material
Escrita do material
Notas ao idioma e script
Instrumentos de descrição
Instrumento de pesquisa gerado
Aquisição e avaliação de elementos
Fonte imediata de aquisição
Informações de avaliação, seleção e eliminação
Elementos de materiais relacionados
Existência e localização de originais
Existência e localização de cópias
Selected materials from Series 1: Correspondence and Series 2: Photographs of this collection have been digitized.
Material arquivístico relacionado
Elemento de notas
Elemento de controle de descrição
Regras ou convenções
Nota do arquivista
Pontos de acesso
Pontos de acesso - Assuntos
Pontos de acesso - Locais
Pontos de acesso - Nomes
- Cabrera, Lydia (Produtor)