This article seeks to show, through an examination of music and Pretos Velhos entities, the transnationalisation and the adaptation of an Afro-Brazilian cult of possession (Umbanda) in a French, Belgian and Swiss contexts. By analysing songs, dances and rhythms, I focus on the diacritical characteristics from Pretos Velhos entities in Umbanda and on the discourses of mediums (during and after possession), to emphasize the representation of these entities in their adaptation society. The purpose of this article is to show howthe Pretos Velhos, and also music (rhythms and dances), are one strategic point of adaptation of Afro-Brazilian cults. The work of imagination (here conveyed by music), shows the transcendence of a historical symbol by a European romantic symbol (the storyteller) that will create this new area where the Umbanda can adapt to the European contexts.
