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Afro-cubanThe term Afro-Cuban refers to descendants of African slaves in Cuba, and to cultural elements in Cuba thought to emanate from this community. Even more so than in the United States, the term is highly complex and confusing, in part because it refers to a large (often majority) segment of Cuban society and culture, and could thus be called simply "Cuban". Apart from the obvious colour marker (phenotype), it also refers back to religion, music, language, the arts, and class culture. Most Cubans (about 60 percent, according to a 2001 census) characterise themselves as mulatto, that is of mixed-race ancestry, while close to 15 percent characterise themselves as black. A large majority of those living on the island thus affirm some part of African ancestry. The matter is further complicated by the fact that a fair number of people still locate their origins in specific African ethnic groups or regions, particularly Yoruba and Congo, but also Arar, Carabal, Mandingo, Fula and others. Nevertheless, and despite the egalitarian project of the Cuban revolution, racial discrimination still exits in Cuba, though arguably less so than in most other countries of the Americas, including the United States. Though phenotypic aspects clearly dictate part of the perception of Afro-Cubanness or Afro-Cubanism, cultural aspects are equally important. Both blacks and whites participate to varying degrees in social and cultural conventions commonly understood to be Afro-Cuban. The most important of these are religion and music. Afro-Cuban religion can be broken down into three main currents: Santera, Palo Monte, and Abaku, and include individuals of all origins. Santera and Abaku both have large parts of their liturgy in African languages (Yoruba and aigo, respectively) while Palo Monte uses a mixture of Spanish and Kikongo. Santera and Palo Monte are largely syncretised with Catholicism, though it is generally considered that the African elements outweigh the Catholic ones. The Abaku religion is in fact a secret society for men, similar to the freemason orders of Europe, which first integrated white (Spanish) members in the late 19th century, but has not been syncretised with Catholicism and remains close to its origins in south-eastern Nigeria. Apart from Romes official representation in Cuba and the remnants of the Protestant church (represented by the Ecumenical Council of Cuba), popular Catholicism and independent Protestant groups have been more or less influenced by African beliefs. Afro-Cuban music involves two main categories of music, religious and profane. Religious music includes the chants, rhythms and instruments used in rituals of the above-mentioned religious currents, while profane music focuses largely on rumba and comparsa (carnival music) as well as several lesser styles such as the tumba francesa. It is an acknowledged fact, however, that practically all Cuban music has been influenced by African music, particularly regarding rhythm. In modern music, styles such as timba, reggatn and rap are usually associated with Afro-Cubans, though all three are products of genres that originated outside of the country. Other cultural elements considered to be Afro-Cuban can be found in language (including syntax, vocabulary, and style of speech) and generally held stereotypes of Afro-Cuban culture such as male and female behaviour, family structure or general habits. The term Afro-Cuban is rarely taken into the economic sphere, despite the fact that, as in most of the Americas, black Cubans and mulattos are generally poorer than whites, which translates into class phenomenon along racial lines. The political situation, however, forbids public acknowledgement of the existence of social classes and of racial problems of any kind.
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