By Kristine Juncker
“Challenges the reader in provocative new methods. issues to the salient name to motion provided by means of neighborhood Santería and Espiritismo arts, ritual, functionality, and different cultural kinds in addressing center questions of background, legacy, and new beginnings.”—Suzanne Preston Blier, writer of Royal Arts of Africa
“A a lot wanted research of the style during which the spiritual artwork of ladies is a primary measurement of Afro-Cuban spiritual 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 heart in Spanish Harlem within the Sixties, this e-book profiles 4 generations of ladies from one Afro-Cuban spiritual kinfolk. the ladies have been hooked up by means of their admired 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 tips or insight—and additionally a santera, or priest of Santería, who might interact the oricha pantheon.
Kristine Juncker argues that via growing paintings for multiple faith those ladies shatter the preferred assumption that Afro-Caribbean religions are particular firms. The portraiture, sculptures, and images in Afro-Cuban non secular Arts provide infrequent and noteworthy glimpses into the rituals and iconography of Espiritismo and Santería. Santería altars are heavily guarded, constrained to initiates, and customarily destroyed upon the dying of the santera whereas Espiritismo artifacts are infrequently thought of beneficial adequate to move on. the original and protean cultural legacy exact right here unearths how ritual paintings grew to become well known imagery, sparked a much broader discussion approximately tradition inheritance, attracted new practitioners, and enabled Afro-Cuban spiritual 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
Even more damning, Lachatañeré dismissed Ortiz’s use of the term brujería, or “sorcery,” expressing his own preference for the term santería. Although Ortiz ostensibly welcomed Lachatañeré’s critique, characterizing it as providing a springboard into his next phase of research, there are significant clues that Ortiz and Lachatañeré held fundamentally different philosophies on Afro-Cuban religions. By the late 1930s and early 1940s, Ortiz had already cemented his reputation as a respected editor and scholar.
Francisco (O) St. Lazarus (H) Herskovits field data (see also Life in a Haitian Valley, chap. 14). ” (M) Price-Mars, Ainsi parla l’oncle . . : Essais d’ethnographie. (N) Nina Rodrigues, L’animisme fétichiste des nègres de Bahia. (O) Ortiz, The Black Sorcerers. ” (R) Ramos, O negro brasileiro. (S) Seabrook, The Magic Island. (W) Wirkus and Dudley, The White King of La Gonave. 3. S. S. S. (urban North) e e c d Source: Adapted from Herskovits, “Problem, Method, and Theory in Afroamerican Studies,” 53.
James the Elder; (H) St. Joseph (H) St. ); (H) Mater Dolorosa (O) St. Alberto; (occasionally) St. Hubert (O) St. John the Baptist (M) St. John the Baptist (H) Sts. Cosmas and Damien (H) St. Nicholas (O) St. Francisco (O) St. Lazarus (H) Herskovits field data (see also Life in a Haitian Valley, chap. 14). ” (M) Price-Mars, Ainsi parla l’oncle . . : Essais d’ethnographie. (N) Nina Rodrigues, L’animisme fétichiste des nègres de Bahia. (O) Ortiz, The Black Sorcerers. ” (R) Ramos, O negro brasileiro.