In Cuba, emergent circulations between Cuba and contemporary Yorùbáland, Nigeria are transforming the landscape of gender, belief, and state religious policy. This project examines this reencounter through the lens of the controversial Yorubization – or re-Yorubization – of the religions of Regla de Ocha, also known as Santeria, and Ifá. Through an ethnography of affective belonging and emancipatory desire in Havana, Santiago de Cuba, and the provinces of Holguín, Ciego de Ávila, and Guantánamo, this work examines how “African Traditionalists” mobilize select aspects of the Yorùbá Traditional Religion (YTR) and Yorùbá language of Nigeria in order to circumvent Cuban prohibitions regarding gender and carve out novel spaces of religious autonomy and authority. Through a critical examination of the intersections of aurality and predications of Africanity in Nigerian-style Ifá-òrìşa, this work interrogates the ways in which women and men craft sound and listening in order to reshape gendered subjectivities and reconstitute the boundaries of òrìṣà worship in Cuba. In the realm of gender, which constitutes the most polemical break between Nigerian-style Ifá-òrìşa and Cuban-style Regla de Ocha-Ifá, women have carved out access to the previously-prohibited tambores de aña, or consecrated batá drum set. Additionally, women break the gendered boundaries and taboos against female participation in Ifá by "speaking Ifá” as Ìyánífá, or divining priestesses. In the Ilá-Ifẹ̀-rooted Aworeni lineage in Havana, the “Àràbà of Cuba” and other babaláwos (priests) mobilize the recently-imported dùndún "talking drums" of Yorùbáland as a means to “re-Yorubize” Cuban Ifá and to promote the spread of Nigerian-rooted institutions in Cuba. In eastern Baracoa and western Havana, all-male Egúngún masquerade is additionally gaining prominence as a Yorùbá-inspired means of worshiping and "working with" the dead. This project interrogates how various forms of engagement with sound and listening inform – and, often, constitute – central practices of assertion for practitioners of Nigerian-style Ifá-òrìṣà in Cuba. In a larger sense, this project points to the ongoing ways in which the contemporary African continent continues to influence and transform the landscape of gender and belief in contemporary Cuba.