By Kristine Juncker

“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 varieties in addressing center questions of heritage, legacy, and new beginnings.”—Suzanne Preston Blier, writer of Royal Arts of Africa


“A a lot wanted research of the style within which the non secular paintings of ladies is a basic 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 spiritual middle in Spanish Harlem within the Nineteen Sixties, this publication profiles 4 generations of girls from one Afro-Cuban spiritual relations. the ladies have been hooked up by means of their sought after 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 useless ancestors for assistance or insight—and additionally a santera, or priest of Santería, who may well 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 businesses. The portraiture, sculptures, and pictures in Afro-Cuban spiritual Arts supply 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 loss of life of the santera whereas Espiritismo artifacts are hardly thought of worthy adequate to cross on. the original and protean cultural legacy exact the following unearths how ritual artwork turned renowned 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

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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.

53 As David H. 54 Lam’s abstract expressionist work is a cacophony of shapes, angles, and lines and frequently incorporates human and animal features. His paintings do not convey specific mythological narratives, however. Rather, his fantastic creatures and body parts mimic the complexity of Afro-Cuban belief systems as well as the interaction between them. In a number of his contemporary works, including The Chair (1942), one of Lam’s best-known paintings, he appears to be reconsidering the use of leaves in certain Afro-Cuban religious altar practices (see plate 2).

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. (S) Seabrook, The Magic Island. (W) Wirkus and Dudley, The White King of La Gonave.

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