Much of the limited scholarship dedicated to Sor Juana's "autos sacramentales" tends to separate them from the "loas" that were meant to introduce them. Critics often exalt the "loas" for the sympathy that they express for indigenous beliefs, while neglecting the "autos" or viewing them as masterful imitations of Calderon's style. This analysis breaks with this trend by demonstrating the thematic unity between the "auto" titled "El martir del sacramento, San Hermenigildo" and the "loa" that precedes it. Reading the two works in the light of Jesuit Neo-Scholasticism and its influence on the development of "criollo" consciousness, the article argues that both "loa" and "auto" contribute to a subversive "criollo" discourse that questions Spain's hegemony and carves a space for Sor Juana's own intellectual activities.