Afro-Cuban Religious Arts: Popular Expressions of Cultural - download pdf or read online

By Kristine Juncker

ISBN-10: 0813049709

ISBN-13: 9780813049700

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


“A a lot wanted examine of the style within which the non secular artwork of girls is a basic 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 Eighties to a spiritual heart in Spanish Harlem within the Nineteen Sixties, this ebook profiles 4 generations of girls from one Afro-Cuban non secular family members. the ladies have been hooked up via their well-liked roles as leaders within the religions they practiced and the dramatic ritual paintings they created. each one used to be a medium in Espiritismo—communicating with lifeless ancestors for counsel or insight—and additionally a santera, or priest of Santería, who might have interaction the oricha pantheon.

Kristine Juncker argues that by means of growing paintings for multiple faith those girls shatter the preferred assumption that Afro-Caribbean religions are particular organisations. The portraiture, sculptures, and pictures in Afro-Cuban spiritual Arts provide infrequent and noteworthy glimpses into the rituals and iconography of Espiritismo and Santería. Santería altars are heavily guarded, restricted to initiates, and usually destroyed upon the demise of the santera whereas Espiritismo artifacts are hardly thought of worthy sufficient to move on. the original and protean cultural legacy distinct the following finds how ritual artwork turned well known imagery, sparked a much wider discussion approximately tradition inheritance, attracted new practitioners, and enabled Afro-Cuban spiritual 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

Example text

In the early 1960s, the nascent Revolutionary government accused the Catholic Church of organizing against it. Newspapers of the period indicated that several churches had gathered arms. In 10 · Afro-Cuban Religious Arts a somewhat haphazard response, the Revolutionary government then went about seizing any vestige of Catholic imagery, including Espiritismo altars and objects from private homes. Ultimately, it was the Revolutionary government’s early policies that were most responsible for the discrimination that befell women’s religious art and that discredited the role of many espiritistas both in Cuba and in the broader Afro-Caribbean region.

3. 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 ?

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). 56 Her presence was noted at a number of social events, and she was often mentioned in regard to her research on Afro-Cuban religion, in which she was said to be making incredible strides in penetrating heretofore impenetrable social barriers.

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

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