By Kristine Juncker
“Challenges the reader in provocative new methods. issues to the salient name to motion offered by means of 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 examine of the way within which the spiritual artwork of ladies is a basic size 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 Eighties to a spiritual middle in Spanish Harlem within the Nineteen Sixties, this e-book profiles 4 generations of girls from one Afro-Cuban non secular relations. the ladies have been hooked up via their trendy 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 lifeless ancestors for tips or insight—and additionally a santera, or priest of Santería, who may interact the oricha pantheon.
Kristine Juncker argues that by way of growing artwork for multiple faith those ladies shatter the preferred assumption that Afro-Caribbean religions are specific companies. The portraiture, sculptures, and pictures 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 customarily destroyed upon the dying of the santera whereas Espiritismo artifacts are not often thought of invaluable sufficient to cross on. the original and protean cultural legacy specific the following unearths how ritual artwork turned renowned 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 resources for Afro-Cuban Religious Arts: Popular Expressions of Cultural Inheritance in Espiritismo and Santería
They devotedly continue their old, magical practices, and all continue to return to the forest. ”74 In this highly romanticized fashion Cabrera’s book presents several chapters of folklore. She also provides an encyclopedia of traditional plants as well as different types of wood and some minerals, discussing each one’s properties and physical characteristics as well as the oricha or multiple divinities to whom each element belongs, its potential for healing, and its ritual use. Her documentation of nearly five hundred different herbal elements is still an influential resource among Afro-Cuban practitioners today.
S. S. S. (urban North) e e c d Source: Adapted from Herskovits, “Problem, Method, and Theory in Afroamerican Studies,” 53. Notes: a = very African; b = quite African; c = somewhat African; d = a little African; e = trace of African customs or absent; ? = no report Religion Magic Art Folklore Music Language a a b a a b a a e a a c a a d a a c b b e a a c a a b a a a a a e a a c c b e b b d a b e d a b a a b b a a b a e a a c a a e a a a b b e a b c b a e b c e a a e b a e c b e b b d c b e b ? e c b e b e e e b e b b d c b e a b b c b e b b e c b e d b e *Carib Indian influences are strong in this culture.
The reason for this expansive examination is that throughout the twentieth century many women and men—and especially those working as religious leaders—practiced more than one Afro-Cuban belief system. Likewise, trends in the literature contributed to the development of religious-arts practices across multiple Afro-Atlantic belief systems. The core authors featured in this discussion, including Fernando Ortiz, Melville Herskovits, Rómulo Lachatañeré, Lydia Cabrera, and William Bascom, as well as popular-culture sources including the Cuban magazine Bohemia, recurrently changed how they described artistic practices.
Afro-Cuban Religious Arts: Popular Expressions of Cultural Inheritance in Espiritismo and Santería by Kristine Juncker