By Kristine Juncker
“Challenges the reader in provocative new methods. issues to the salient name to motion offered via neighborhood Santería and Espiritismo arts, ritual, functionality, and different cultural types 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 within which the non secular paintings 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 Eighties to a non secular heart in Spanish Harlem within the Sixties, this publication profiles 4 generations of ladies from one Afro-Cuban non secular kin. the ladies have been hooked up by way of their well-liked roles as leaders within the religions they practiced and the dramatic ritual art they created. every one was once a medium in Espiritismo—communicating with lifeless ancestors for assistance or insight—and additionally a santera, or priest of Santería, who might have interaction the oricha pantheon.
Kristine Juncker argues that by way of growing paintings for a couple of faith those ladies shatter the preferred assumption that Afro-Caribbean religions are particular organisations. 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 hardly thought of priceless sufficient to move on. the original and protean cultural legacy distinctive right here unearths 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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Additional resources for Afro-Cuban Religious Arts: Popular Expressions of Cultural Inheritance in Espiritismo and Santería
Sotolongo’s use of imagery did not put her audience “at ease”; rather, it offered options and presented challenges to her religious clientele and to religious-family members to create their own religious practices. For Herskovits, the idea of “psychological comfort” was one way to make his own leap from the theory of syncretism to his other, later theories somewhat more “comfortable” as well. Africanisms By constantly revising his concept of syncretism, Herskovits was able to use it as a springboard to advance his more broadly stated theory of acculturation studies.
Today, the most popular forms of Caribbean Espiritismo include Mesa Blanca, or “White Table,” Spiritism, which is particularly popular among Introduction · 9 smaller congregations of people, and Espiritismo Cruzado, or “Crossed Spiritism,” which is common for larger celebrations, especially in Cuba. Mesa Blanca Spiritism is the simplest manifestation of Espiritismo and requires very little altar preparation outside a table usually covered with a white cloth, at least one container of holy water, and perhaps some flowers and perfume.
This is curious, because his groundbreaking research on Afro-Atlantic belief systems had a great influences among scholars. Herskovits did read Ortiz’s The Black Sorcerers, and he somewhat erroneously relied on Ortiz’s volume as a primary source. 30 He devoted much of his subsequent research and writing to this hypothesis of cultural change, and he created the terms syncretism and Africanisms to support this concept. Here, I shall concern myself with Herskovits’s use of Afro-Caribbean art to substantiate the discourse on these terms.
Afro-Cuban Religious Arts: Popular Expressions of Cultural Inheritance in Espiritismo and Santería by Kristine Juncker