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 types in addressing center questions of background, legacy, and new beginnings.”—Suzanne Preston Blier, writer of Royal Arts of Africa
“A a lot wanted examine of the style during which the non secular paintings of ladies 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 spiritual heart in Spanish Harlem within the Sixties, this publication profiles 4 generations of girls from one Afro-Cuban non secular family members. the ladies have been hooked up through their sought after roles as leaders within the religions they practiced and the dramatic ritual art they created. each one was once a medium in Espiritismo—communicating with useless ancestors for advice or insight—and additionally a santera, or priest of Santería, who may have interaction the oricha pantheon.
Kristine Juncker argues that by way of developing artwork for multiple faith those ladies shatter the preferred assumption that Afro-Caribbean religions are specific firms. The portraiture, sculptures, and images 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 dying of the santera whereas Espiritismo artifacts are infrequently thought of worthy adequate to go on. the original and protean cultural legacy designated right here unearths how ritual paintings 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
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. Herskovits’s idea of Africanisms became popular in the academic literature, but by 1990 the scholars V.
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. 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 ?
Moreover, he argued, the reverberations of this cultural change had been felt around the world. This argument about the impact of tobacco and sugar on culture did not immediately draw an audience from those interested in Afro-Cuban ritual arts. 67 Unfortunately, during his lifetime Cuban Counterpoint never became as influential as Ortiz had hoped. The prejudice implicit in Ortiz’s first publication, The Black Sorcerers, likely hampered the overall success of Cuban Counterpoint among Spanish-speaking scholars.
Afro-Cuban Religious Arts: Popular Expressions of Cultural Inheritance in Espiritismo and Santería by Kristine Juncker