Afro-Cuban Religious Arts: Popular Expressions of Cultural by Kristine Juncker

By Kristine Juncker

“Challenges the reader in provocative new methods. issues to the salient name to motion awarded by means of neighborhood Santería and Espiritismo arts, ritual, functionality, and different cultural varieties in addressing middle questions of background, legacy, and new beginnings.”—Suzanne Preston Blier, writer of Royal Arts of Africa

 

“A a lot wanted research of the way during which the spiritual paintings of ladies is a primary size of Afro-Cuban non secular ritual, either within the private and non-private spheres.”—Michelle Gonzalez Maldonado, writer of Afro-Cuban Theology

 

From a plantation in Havana Province within the Eighteen Eighties to a spiritual heart in Spanish Harlem within the Sixties, this e-book profiles 4 generations of ladies from one Afro-Cuban spiritual kin. the ladies have been attached through their admired roles as leaders within the religions they practiced and the dramatic ritual art they created. every one used to be a medium in Espiritismo—communicating with useless ancestors for assistance or insight—and additionally a santera, or priest of Santería, who may well have interaction the oricha pantheon.

Kristine Juncker argues that through growing artwork for multiple faith those girls shatter the preferred assumption that Afro-Caribbean religions are particular agencies. The portraiture, sculptures, and images in Afro-Cuban spiritual Arts supply infrequent and noteworthy glimpses into the rituals and iconography of Espiritismo and Santería. Santería altars are heavily guarded, restricted to initiates, and customarily destroyed upon the dying of the santera whereas Espiritismo artifacts are not often thought of useful adequate to cross on. the original and protean cultural legacy distinct the following finds how ritual artwork turned well known imagery, sparked a much broader discussion approximately tradition inheritance, attracted new practitioners, and enabled Afro-Cuban non secular expression to blow up internationally.

 

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Extra info for Afro-Cuban Religious Arts: Popular Expressions of Cultural Inheritance in Espiritismo and Santería

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S. de Rosario (at Bahia); N. D. de Conceiçāo (at Rio) Maitresse Erzulie; Erzilie; Erzilie Freda Dahomey Saponam (I) the Sacred Sacrament Osa-Osé (Oxóssi) (I)(N)(R) St. George, at Bahia; (R) St. Sebastian at Rio Ololu; Omolú (R) St. Bento Agomme Tonnere Ibeji (Brazil and Cuba); Marassa (Haiti) (R) Sts. ) Loco (R) St. Francisco Babayú-Ayí Ifa (R) the Most Sacred Sacrament Yansan (wife of Shango) (R) Santa Barbara (wife of St. Jerome) Source: Excerpted and adapted from Herskovits, “African Gods and Catholic Saints in New World Negro Belief,” 327–28.

S. de Rosario (at Bahia); N. D. de Conceiçāo (at Rio) Maitresse Erzulie; Erzilie; Erzilie Freda Dahomey Saponam (I) the Sacred Sacrament Osa-Osé (Oxóssi) (I)(N)(R) St. George, at Bahia; (R) St. Sebastian at Rio Ololu; Omolú (R) St. Bento Agomme Tonnere Ibeji (Brazil and Cuba); Marassa (Haiti) (R) Sts. ) Loco (R) St. Francisco Babayú-Ayí Ifa (R) the Most Sacred Sacrament Yansan (wife of Shango) (R) Santa Barbara (wife of St. Jerome) Source: Excerpted and adapted from Herskovits, “African Gods and Catholic Saints in New World Negro Belief,” 327–28.

Ortiz suggests different regional African origins for many of the instruments, based mainly on their sculptural elements, and he also describes Cuban innovations. Musicians and scholars still rely on this influential work to correlate Cuban musical practices with their African origins. Many of Ortiz’s original articles on Cuban instruments were written for the popular Cuban cultural and literary magazine Bohemia. Between 1949 and 1951, in the pages of Bohemia, Ortiz also broke with his earlier theory that Espiritismo practices provided a bridge into European and North American culture.

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