The colonial authorities and Spanish legislation initially favored the establishment of the cabildos for the amusement of the slave population of the island.[viii] Initially, they were meant to be a means of social control, a type of pressure-releasing valve that helped alleviate the tensions between the masters and the slaves.
Cabildos were the African “churches,” the place where they could consult the deities and ancestors who accompanied them on the forced voyage.
Once the cabildo paid tribute to the tutelary deities of the house, and obi had responded in a favorable manner, the homaged olorisha would then join the crowd of marchers as they continued to parade down the long and narrow street of the port town.
Cabildos preserved African cultural traditions, even after the Emancipation in 1886 forced them to unite with the Roman Catholic church.
One of the most vibrant cabildos was the Lucumí[?], which became known for batá drums[?], played traditionally at initiation ceremonies, and gourd ensembles called abwe[?].
The Kongo cabildo is known for its use of yuka drums[?], as well as gallos[?] (a form of song contest), makuta[?] and mani dances, the latter being closely related to the Brazilian martial dance capoeira.
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