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

By Kristine Juncker

ISBN-10: 0813049709

ISBN-13: 9780813049700

“Challenges the reader in provocative new methods. issues to the salient name to motion provided via neighborhood Santería and Espiritismo arts, ritual, functionality, and different cultural types in addressing center questions of historical past, legacy, and new beginnings.”—Suzanne Preston Blier, writer of Royal Arts of Africa

 

“A a lot wanted learn of the way during which the spiritual artwork of girls is a primary measurement 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 non secular middle in Spanish Harlem within the Nineteen Sixties, this publication profiles 4 generations of girls from one Afro-Cuban spiritual relations. the ladies have been hooked up by means of their widespread roles as leaders within the religions they practiced and the dramatic ritual paintings they created. each one was once a medium in Espiritismo—communicating with lifeless ancestors for counsel or insight—and additionally a santera, or priest of Santería, who may well interact the oricha pantheon.

Kristine Juncker argues that via growing artwork for multiple faith those ladies shatter the preferred assumption that Afro-Caribbean religions are particular enterprises. The portraiture, sculptures, and images in Afro-Cuban non secular Arts provide infrequent and memorable glimpses into the rituals and iconography of Espiritismo and Santería. Santería altars are heavily guarded, constrained to initiates, and usually destroyed upon the loss of life of the santera whereas Espiritismo artifacts are infrequently thought of precious sufficient to go on. the original and protean cultural legacy specific right here unearths how ritual paintings turned renowned imagery, sparked a much wider discussion approximately tradition inheritance, attracted new practitioners, and enabled Afro-Cuban non secular expression to blow up internationally.

 

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Read e-book online Afro-Cuban Religious Arts: Popular Expressions of Cultural PDF

“Challenges the reader in provocative new methods. issues to the salient name to motion awarded via neighborhood Santería and Espiritismo arts, ritual, functionality, and different cultural kinds in addressing middle questions of background, legacy, and new beginnings. ”—Suzanne Preston Blier, writer of Royal Arts of Africa “A a lot wanted learn of the way during which the spiritual artwork of ladies is a primary size of Afro-Cuban non secular ritual, either within the private and non-private spheres.

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

Example text

Ortiz made scholarly debate on Afro-Cuban religions fashionable. In fact, his project was so successful that even work with which he actually disagreed 30 · Afro-Cuban Religious Arts became popular, including Herskovits’s idea of syncretism. Beginning in 1949, Ortiz began a series of articles on “The Study of Cuba’s Folkloric Music,” which were later expanded into his oft-cited five-volume encyclopedic Los instrumentos de la música afrocubana. This work features essays on more than a hundred Afro-Cuban musical instruments, describing each instrument’s design and also including Ortiz’s interviews with religious practitioners and musicians.

His descriptions largely pertained to Palo, the Ñáñigo Society (or Abakuá),12 and La Regla de Ocha (whose rituals persist into the present day), although he frequently grouped their practices together. An unfortunate result of Ortiz’s efforts in The Black Sorcerers was that recognizable religious affiliates who celebrated African ancestry now came under suspicion. 13 In his 1908 book, La policía y sus misterios en Cuba, for example, the police inspector Rafael Roche y Monteagudo documented his efforts in pursuit of male Afro-Cuban religious practitioners; such arrests were mainly concentrated among the Abakuá men’s associations.

Upon this makeshift altar the tobacco leaves reference Afro-Cuban and Afro-Amerindian religious practices, including Espiritismo. Lam’s reference to plants and leaves is reminiscent of Lydia Cabrera’s interest in Afro-Cuban traditional plants. At the time Lam painted this work, Cabrera had already begun to investigate ritual herbal medicine practices, and she would later work in Havana for more than a decade interviewing priests of Afro-Cuban religions, leading to the publication in 1954 of her most influential book, El Monte (The Forest).

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Afro-Cuban Religious Arts: Popular Expressions of Cultural Inheritance in Espiritismo and Santería by Kristine Juncker


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