"And Yet, Here We Are" started as a diary of my family's practices, specifically through the lens of my grandmother’s role as the current "priest" of our Umbanda temple. It has since transformed into a documentation of religious racism towards members of Afro-Brazilian religions throughout the country. I use this story to honor my family, my ancestors, and my Umbanda mates who are currently suffering from this prejudice. Thus, by bringing this story to light, I am offering a historical reparation and retelling of the culture and heritage of those who have been erased, but were always here. My family members participate of an Umbanda ceremony at my grandmother's house. Our umbanda temple has historically being subject of persecution. My grandmother decided to construct it in a hidden part of the house. At that time, the police entered many temples that praised African Gods.