Hailing From Cuba, Nigeria, And Various Sites Across Latin America And The Caribbean, Ifa? Missionary-practitioners Are Transforming The Landscape Of Ifa? Divination And Deity (o?ri?s?a?/oricha) Worship Through Transatlantic Travel And Reconnection. In Cuba, Where Ifa? And Santeri?a Emerged As An Interrelated, Yoru?ba?-inspired Ritual Complex, Worshippers Are Driven To African Traditionalism By Its Promise Of Efficacy: They Find Yoru?ba? Approaches More Powerful, Potent, And Efficacious. In The First Book-length Study On Music And Ifa?, Ruthie Meadows Draws On Extensive, Multi-sited Fieldwork In Cuba And Yoru?ba?land, Nigeria To Examine The Contentious Nigerian-style Ritual Movement In Cuban Ifa? 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 Ifa? Priestesses (i?ya?ni?fa?), Female Bata? Drummers (bataleras), And Priests (babala?wo) Harness Yoru?ba?-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 Ifa?-o?ri?s?a? Is Leveraged To Reshape Femininity And Masculinity, State Religious Policy, And Transatlantic Ritual Authority On The Island-- Provided By Publisher.