Obba (2020) is separated by another of the discursive edges that implicitly underlie alejandra Glez’s work: the religious cosmogony of African origin. Justly Obba, name of Yoruba saint, constitutes in the ideology Afro-Cuban a metaphor of female sacrifice, worldview on which Alejandra is based to point towards the rituals of obedience, submission and complacency tied to the subject feminine in modern society