Dissertations / Theses on the topic 'Cuban Santeria'

Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 2006.
Title from electronic title page (viewed Oct. 10, 2007). "... in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Religious Studies." Discipline: Religious Studies; Department/School: Religious Studies.

Tradicionalmente as religiões afro-americanas são estudadas principalmente por meio de suas cerimônias, mitologia, hierarquia, organização ritual e conceitos éticos-filosóficos. Nesta tese se realiza uma aproximação da Santería1 cubana, religião de origem africana, por meio de sua cultura material. Com esta ideia se observou a presença desta religião na sociedade cubana contemporânea, inserida em um processo de transformações sócioeconômicas, em que ela, considerada uma prática subalterna assume um papel protogonista. Os objetos criados e/ou transformados para uso religioso funcionam na pesquisa como fio condutor para analisar os modos pelos quais a Santería é percebida dentro e fora da comunidade religiosa. Com esse intuito se realizou o exercício de examinar a apreensão de objetos para uso religioso em espaços públicos: museus e mercado, assim como privados: casas-templo. Questões como agência desses objetos, as redes de sociabilidade em que estão inseridos e seus processos de sacralização foram estudados com o auxílio de alguns pressupostos teóricos dos estudos sobre o consumo de cultura material. A etnografia foi decisiva para a construção da narrativa deste trabalho que confirmou a ideia de que a Santería se mantem intimamente vinculada às transformações atuais em Cuba.
Traditionally, African-American religions are mainly studied through their ceremonies, mythology, hierarchy, ritual organization and ethic-philosophical concepts. In the present thesis, one approaches the Cuban Santería, a religion of African origin, through its material culture. Bearing this in mind, we observed the presence of this religion in the Cuban contemporary society, inserted in a process of socio-economic transformations where it assumes an important role, although once it had been considered a marginal practice. The objects which are created and or transformed for the religious use are the connecting thread in the research to analyze how Santería is seen in and out of the religious community. In order to do so, we exanimated how religious objects are placed in public and private spaces for religious use: museums and markets and also the house-temples. Inquiries about the agency of those objects, the sociability networks in which they are inserted and their sacralization processes were studied with the assistance of some theoretical assumptions of the studies about the consumption of material culture. Ethnography was decisive to frame the narrative of this work, which confirmed the idea that Santería is still intimately affected and bound to the current transformations in Cuba.

This study explored the origins, evolution and influence of the tradition of San Lázaro as it currently pertains to the Cuban-American Santeria community in Miami. The main argument of the study is that in the context of the contemporary religious culture of Santeria in Miami, San Lázaro is a hybrid spirit. Many manifestations of healing entities have come to merge in the person of this spirit. Though practitioners identify with specific manifestations of this spirit, the processes of transmigration have blurred the lines of deep-rooted faiths and created a fusion of meanings from disparate traditions, making San Lázaro an ambivalent personality. San Lázaro’s ambivalence is the very quality that makes him such an important Orisha. As a deity whose personalities demonstrates the combination of a diversity of qualities, including those that contradict each other, San Lázaro is deployed in a very broad range of healing context, making him a versatile Orisha. This study clarified the contrasting qualities this deity embodies and traces the socio-historical context in which the deity acquires the layers of meanings it is currently associated with. Drawing on interviews with Lázaranian worshipers [Lázarenos] in Miami and engaging in Bourdieu’s concept of Habitus, the study provided a window into the nature of the tradition of San Lázaro and how its usage is linked with the African heritage of the worshipers.

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CAPES
Esta investigação tem como eixo central a análise descritiva acerca das funções e importância que possui a iyalocha dentro e fora dos espaços sócio-religiosos na Santería ou Regla de Ocha, espaço que se define no seu conceito como Casa-templo ou ilé. Para sua maior compreensão desenvolvemos no primeiro capítulo de este trabalho um estudo sobre os aspectos teóricos que fazem parte da mencionada religião de matriz africana em Cuba. Fundamentamo-nos também no estudo de diferentes histórias de vida relacionadas com as análises das seguintes variáveis: gênero, classe social, características das Casas- templo, funções da iyalocha dentro do espaço sócio- religioso, nível profissional e cultural, cor da pele, identificação política, etc. de quarenta iyalochas, dez babalaô, dois oriatés e cinco santeiros residentes nos seguintes municípios da Ciudad de La Habana, capital de Cuba: Arroyo Naranjo, Plaza de la Revolución, Habana Vieja, Centro Habana, Marianao, Playa e Diez de Octubre. This research has as the central focus the descriptive analysis about functions and importance that has the iyalocha inside and outside spaces in Santería or Regla de Ocha, spaces that is defined in its concept as a temple or ile socio- religious. For your better understanding we rely on the first chapter of this work in the study of the theoretical aspects that are part of this religion of African array. We also base on the study of different life stories related to the analysis of the following variables: gender, social class, characteristics of the houses- temple, functions with in the space socio- religious professional and cultural level, colour of skin, political identification, etc, of forty iyalochas, ten babalawo, two oriatés and five santeros residents in the municipalities of the city of Havana capital of Cuba: Arroyo Naranjo, Plaza de la Revolución, Havana Vieja, Centro Havana, Marianao, Playa and Diez de Octubre.

The Cuban-born artist Ana Mendieta (1948-1985) created the Silueta Series during the 1970s and ‘80s. It consists of earth-body works in situ featuring the silhouette of the artist's body fashioned from mud, plants, rocks, gunpowder and other materials. Underlying the creation of the Silueta Series is Mendieta's belief that the elements are sentient and powerful beings. This perception is particularly strong in the Afro-Cuban religion Santeria, a creolized form of the Òrìsà tradition of the Yoruba of West Africa introduced to the Americas during the trans-Atlantic slave trade. While scholars have noted Mendieta's incorporation of Santeria in her art, a thorough analysis of the iconographical references to the deities have yet to be explored. This thesis aims to provide such an analysis of Mendieta's works; thus enriching the current discourse on the Silueta Series.

Cette thèse porte sur l’organisation sacerdotale d’un complexe mythico-rituel cubain d’origine yoruba articulé autour de deux pôles aux rapports complexes et parfois conflictuels : la santería, fondée sur la mise en relation personnalisée des adeptes avec des entités orichas, et Ifá, pôle divinatoire centré sur l’usage de l’oracle éponyme. L’objectif est de mettre en évidence les relations d’interdépendance qui unissent ces deux pôles. Pour cela, la thèse accorde une primauté descriptive et analytique à la structuration des pratiques initiatiques qui constituent le socle du culte et à leurs dimensions pragmatique, formelle et interactionnelle. Elle met en valeur deux éléments. (1) Différentes formes de réflexivité critique, relayées par une organisation sociale pluricéphale, par la nature des savoirs en présence et par l’indétermination de certaines procédures cérémonielles, constituent le premier élément sur lequel repose la cohérence de l’ensemble. Elles font notamment du débat, de l’exégèse, de la contestation et, parfois, du conflit, des ressorts intrinsèques de la pratique sacerdotale ainsi que de l’exécution rituelle et des performances initiatiques. (2) Deux conceptions divergentes de la pratique, véhiculées par ces formes de réflexivité et issues d’expériences initiatiques profondément distinctes, sont à l’origine de la tension fondatrice qui organise ce complexe bipolaire et les relations entre spécialistes. A priori incompatibles, ces conceptions sont amenées à se confronter constamment du fait de la coordination collégiale imposée par le rituel et engendrent des négociations continues qui impriment sa dynamique et son unité distinctives à ce complexe sacerdotal
This thesis deals with the organization of priesthood in a Cuban mythical and ritual complex generally considered to be of Yoruba origin. This one is based on two intricately related “centers” which may sometimes conflict with each other. Santería focuses on establishing personalized relationships between the adepts and entities called orichas, while Ifá focuses on divination and the use of the eponymous oracle. Aiming to highlight the relationships of interdependence that unite these two centers, the dissertations grants descriptive and analytical primacy to the structuring of the initiatory practices santería and Ifá rest upon and, specifically, to their pragmatic, formal and interactional dimensions. In doing so, it brings out two elements. (1) The coherence of this bipolar unity relies on different forms of critical reflexivity, relayed by a “pluri-cephal” social organization, by the nature of ritual knowledge, and by the indetermination that weigh on ceremonial procedures. In particular, debate, exegesis, criticism and, sometimes, conflict appear to be intrinsic mechanisms in the practice of priesthood and, more deeply, in the carrying out of ritual and collective initiatory practices. (2) An underlying tension organizes this bipolar complex and the relationship between its specialists that originates in two divergent conceptions of practice conveyed by these forms of reflexivity and resulting from deeply distinct initiatory experiences. These conceptions, a priori incompatible, constantly confront due to the collegial coordination imposed by ritual organization and generate continuous negotiations that instill its distinctive dynamic to this sacerdotal complex

Tesis para la obtención del título de licenciada en turismo
El turismo al igual que la religión han estado presentes en la vida del ser humano desde las épocas más remotas de su existencia. Si bien no se desarrollaron simultáneamente, se puede afirmar que en un cierto punto el turismo y la religión poseen una intrínseca relación que al combinarlas pueden crear un objeto de estudio para comprender mejor el comportamiento del hombre al desplazarse a un destino diferente al de su vivienda habitual con propósitos religiosos sin importar sus condiciones sociales (Porcal, 2006). Generalmente la gente viaja voluntariamente fuera de su entorno habitual, tomando en cuenta el tiempo que están fuera de su lugar de residencia habitual, el qué tan lejos viajan (Hall y Lew, 2009) y las múltiples razones, necesidades y/o motivos para emprender un viaje que despierte un interés especial en ellos para llevar a cabo actividades que les plazcan de acuerdo a sus motivaciones (Quesada, 2010). Para comprender mejor por qué las personas viajan, se presentarán a lo largo del presente trabajo clasificaciones de las motivaciones que los impulsan a realizar un viaje, mismas que permiten analizar cómo viajan por distintas y diversas razones de acuerdo a sus motivaciones e intereses para satisfacer de manera óptima sus necesidades (Yuan et al. 2005).

En s’appuyant sur le cas d’une ville de la région centrale de Cuba, Sagua la Grande, bastion ancien de la santería, cette thèse s’attache à étudier une forme de religions afro-cubaines basée sur un modèle différent de celui, déjà bien connu, qui structure les cultes similaires à La Havane. La capitale est devenue, au fil du temps, la ville emblématique des cultes afro-cubains, étant érigée en quelque sorte en référence religieuse, voire en «orthodoxie» en la matière. Notre approche comparative entre les cultes afro-cubains de la Havane et de Sagua la Grande permet de relativiser le caractère général de ce modèle cultuel. L’analyse des figures d’autorités dans l’un et l’autre cas relativise la prédominance de la figure du babalao au sein de la prêtrise. Cette charge liturgique, à laquelle n’accèdent que les hommes, est au sommet d’une hiérarchie cultuelle qui est, entre autres, déterminée par des critères du genre. Un autre aspect important est que la ville de province commence lentement à s’inscrire dans la dimension transnationale des pratiques afro-cubaines, occupant par ce biais une place d’importance qu’elle n’avait pas autrefois. Une analyse comparative des formes de cultes présents à la Havane et à Sagua la Grande montrera qu’il ne s’agit finalement pas tant de deux modèles opposés que d’une multiplicité de variantes du culte
A case study of a town in the central region of Cuba, Sagua la Grande, the former stronghold of Santeria, this thesis attaches great importance to the study of a form of afro-cuban religion based on a model different to that already well-known, which has a cult structure similar to Havana. Over time, the capital has become the emblematic town for afro-cuban cults, having been fixed for some as a religious reference point, in so far as an “orthodoxy” is possible in this area. A comparison between afro-cuban cults in Havana and Sagua la Grande permits us to make relative the general character of this cultural model. The analysis of authority figures in both cases makes clear the predominance of the babalao figure in the priesthood. This liturgical role, into which only men are allowed entry, is at the apex of a cultural hierarchy which is determined, in part, by criteria of race. Another important aspect is that the provincial towns are slowly beginning to enlist in the transnational dialogue of afro-cuban practices, indirectly achieving a previously unrecognised prominence. A comparative analysis of cult forms present in Havana and Sagua la Grande will show that it is not a case of two opposing models but rather a multiplicity of cult variations

The status, roles, and interactions of three dominant African ethnic groups and their descendants in Cuba significantly influenced the island’s cubanidad (national identity): the Lucumís (Yoruba), the Congos (Bantú speakers from Central West Africa), and the Carabalís (from the region of Calabar). These three groups, enslaved on the island, coexisted, each group confronting obstacles that threatened their way of life and cultural identities. Through covert resistance, cultural appropriation, and accommodation, all three, but especially the Lucumís, laid deep roots in the nineteenth century that came to fruition in the twentieth. During the early 1900s, Cuba confronted numerous pressures, internal and external. Under the pretense of a quest for national identity and modernity, Afro-Cubans and African cultures and religion came under political, social, and intellectual attack. Race was an undeniable element in these conflicts. While all three groups were oppressed equally, only the Lucumís fought back, contesting accusations of backwardness, human sacrifice, cannibalism, and brujería (witchcraft), exaggerated by the sensationalistic media, often with the police’s and legal system’s complicity. Unlike the covert character of earlier epochs’ responses to oppression, in the twentieth century Lucumí resistance was overt and outspoken, publically refuting the accusations levied against African religions. Although these struggles had unintended consequences for the Lucumís, they gave birth to cubanidad’s African component. With the help of Fernando Ortiz, the Lucumí were situated at the pinnacle of a hierarchical pyramid, stratifying African religious complexes based on civilizational advancement, but at a costly price. Social ascent denigrated Lucumí religion to the status of folklore, depriving it of its status as a bona fide religious complex. To the present, Lucumí religious descendants, in Cuba and, after 1959, in many other areas of the world, are still contesting this contradiction in terms: an elevated downgrade.

This thesis analyses the manner in which gender and sexuality are explored within the context of Vodou and Santería in a number of Haitian and Cuban novels and plays. Focusing on the body as the nodal point between the physical and spiritual planes, it examines women’s negotiation of religious, social and political life in Haiti and Cuba as participants in these marginalised religious communities. The narratives these works of fiction comprise indicate the complex nature of such experiences and recognise the active participation of women in Caribbean society, challenging the way in which they have often been limited in, or omitted from, official discourse. By drawing on African-derived religious traditions in the Caribbean, these texts are inscribed within a worldview in which the physical and the spiritual, the living and the dead coexist, and one that allows divisions within and between concepts such as gender, sexuality, womanhood, space and nation to be transcended. In so doing, these authors write alternative and arguably more complete accounts of lived experience in Haiti and Cuba that serve as a source of knowledge regarding the complexities of daily life and provide a means through which the voice of the marginalised can be heard.

En 1846, l’esclavagiste Julián de Zulueta y Amondo achète un petit moulin à sucre qu’il baptise Álava où il fait construire un baraquement pouvant détenir jusqu’à 700 esclaves. Certains d’entre eux « fondent » des santos parados, pierres consacrées aux divinités nommées orichas qu’ils enterrent dans divers lieux du baraquement ou conservent auprès d’eux. Le plus connu de ces esclaves se nomme Ta Jorge, « homme de confiance » du maître qui, lors de la traversée de l’Atlantique, a gardé avec lui le santo parado d’Elegguá et une figurine représentant l’oricha-enfant. Aujourd’hui, ces reliques sont au cœur de la ritualité d’une des quatre maisons de culte qui composent le champ religieux de ce batey, rebaptisé central Méjico depuis la Révolution de 1959. Grâce à une enquête ethnohistorique et ethnographique, cette thèse propose une réflexion sur un siècle et demi de dynamiques religieuses cubaines en milieu rural ainsi que sur la relation qu’entretiennent aujourd’hui les pratiquants avec leur passé. Elle montre que, loin d’être remplacé par la santería moderne, le culte des santos parados s’est adapté aux évolutions religieuses de Cuba grâce à de constants échanges entre l’ingenio et son environnement. Ces derniers ont permis l’appropriation par les pratiquants locaux du rituel initiatique du kariocha créant un réseau complexe de parentés rituelles toujours plus dense. Pour autant, les pratiquants continuent de mettre en avant la parenté biologique pour définir les maisons de culte à travers des mémoires narratives performées par rite. Ces récits, construits selon un régime mémoriel généalogique, sont corollaires de discours revendiquant à chaque maison une place au sein de la micropolitique locale. Cette recherche s’intéresse plus particulièrement aux représentations locales du passé servile mises en perspective avec le contexte mémoriel national. Elle met en lumière l’influence des régimes mémoriels macropolitiques de l’esclavage sur les discours micropolitiques comme sur certaines pratiques religieuses infrapolitiques : les possessions par les esprits d’esclaves
In 1846, the slave owner Julián de Zulueta y Amondo buys a small sugar mill which he calls Álava where he builds a barracks that can hold up to 700 slaves. Some of them "found" santos parados, stones dedicated to deities named orichas that they bury in various places of the barracks or keep near them. The best known of these slaves is called Ta Jorge, "man of confidence" of the master who, during the crossing of the Atlantic, kept with him the santo parado of Elegguá and a figurine representing the oricha-child. Today, these relics are at the heart of the ritual of one of the four houses of cult that make up the religious field of this batey, renamed central Méjico since the Revolution of 1959. Through an ethnohistorical and ethnographic survey, this thesis proposes a reflection on a century and a half of Cuban religious dynamics in rural areas as well as the relationship that practitioners hold with their past. It shows that, far from being replaced by the modern santería, the cult of santos parados adapted to the religious evolutions of Cuba thanks to constant exchanges between ingenio and its environment. These allowed the local practitioners to appropriate the initiatory ritual of kariocha, creating a complex network of ritual kinship that is ever denser. However, practitioners continue to highlight the biological kinship to define the houses of cult through narrative memory performed by ritual. These stories, built according to a genealogical memorial regime, are corollary of speeches claiming to each house a place within the local micropolitics. This research focuses on local representations of the servile past put into perspective with the national memory context. It highlights the influence of the macropolitic memorial regimes of slavery on the micropolitical discourse as well as on certain infrapolitical religious practices: the possessions by the spirits of slaves
En 1848, el esclavista Julián de Zulueta y Amondo compra un cachimbo que bautiza Álava donde manda la construcción de un barracón que puede detener hasta 700 esclavos. Algunos de ellos fundan “santos parados”, piedras consagradas a las divinidades llamadas orichas, que conservan a su lado o que enteran en diferentes lugares del barracón. El más conocido de estos esclavos se llama Ta Jorge, “hombre de confianza” del amo, quien, según dicen, trajo desde África una piedra y una estatua consagradas al oricha-niño Elegguá. Hoy, estas reliquias están en el centro de la ritualidad de una de las cuatro casas de culto que forman el campo religioso de este batey, rebautizado central Méjico después de la Revolución de 1959. Gracias a una encuesta etnohistórica y etnográfica, esta tesis propone una reflexión sobre un siglo y medio de dinámicas religiosas cubanas en medio rural, como sobre la relación que mantienen los practicantes contemporáneos con su pasado. Demuestra que, lejos de ser remplazada por la santería moderna, el culto de los santos parados se adaptó a la evolución religiosa de Cuba gracias a intercambios constantes entre el ingenio y su entorno. Estos intercambios permitieron la apropiación por los practicantes locales del ritual iniciático del “kariocha” creando una compleja red de parentesco ritual cada vez más densa. No obstante, en las memorias narrativas performadas por el rito que definen las casas de culto los practicantes, se destaca el parentesco biológico. Estos relatos, construidos según un régimen memorial genealógico, son corolarios de discursos que reivindican un lugar particular a cada casa en el seno de la micropolítica local. Esta investigación se interesa especialmente a las representaciones locales del pasado esclavista puesto en perspectiva con el contexto memorial nacional. Pone de relieve la influencia de los regímenes memoriales macropolíticos de la esclavitud en los discursos micropolíticos como en algunas prácticas religiosas infrapolíticas: las posesiones por los espíritus de esclavos

Diese Arbeit beschäftigt sich mit dem Entwicklungsprozess der Santeria im Rahmen der Afrikanischen Diaspora. Dabei werden die pluralen Formen der Orisha-Religion der Yoruba in Afrika im Hinblick auf ihre Funktion als religiöses Fundament der Santeria untersucht. Im Folgenden wird die Entstehung der Santeria auf Kuba, bedingt durch die Einfuhr einer Vielzahl von Yoruba Sklaven, analysiert. Dabei spielt die Vermischung des kubanischen Volkskatholizismus mit den Orishas der Yoruba, die in einer neuen synkretischen Religion - die Santeria - mündet, eine hervorgehobene Rolle. Auch der Einfluss von anderen Glaubenssystemen (Spiritismus) wird an dieser Stelle deutlich gemacht. Im Mittelteil der Arbeit stehen die Emigrationen zahlreicher Kubanern nach der Revolution von 1959, welche somit die Santeria in die USA exportierten. Inwiefern sich die Santeria im Kontext der USA weiterentwickelte bzw. welche neuen Religionsvarianten entstanden sind, wird an dieser Stelle untersucht. Auch die zunehmende Kommerzialisierung der Santeria-Varianten wird kritisch analysiert, besonders im Hinblick auf die wachsende Bedeutung von Botanicas. Der letzte Teil der Arbeit beschäftigt sich mit den gegenwärtigen Entwicklungstendenzen der Santeria zur Lifestyle-Kultur im Rahmen des spirituellen Shoppings und geht auf die öffentliche Wahrnehmung in den USA ein. Dabei wird auch die ‚breite Massentauglichkeit’ der Santeria im Vergleich zu anderen Immigrantenreligionen herausgestellt und ihr Potential als kulturell-religiöse Identifikationsmöglichkeit für diverse Migrantengemeiden in einer zunehmend globalisierten Welt untersucht.
This paper deals with the development of Santeria within the framework of the African Diaspora – rooting in Africa, emerging in Cuba, advancing in the USA. At first, the plural variants of the Yoruba Orisha religion in Africa are explored with regard to their function as religious basis of Santeria. In the following, the genesis of Santeria in Cuba, caused by the import of many Yoruba slaves, is analysed. In this process the blending of Cuban popular Catholicism with the Orishas of the Yoruba, which led to the emergence of Santeria as a syncretic religion, plays a major role. The influence of differing belief systems, such as Spiritism, on Santeria is highlighted as well. In the middle section of this paper the mass emigrations of Cubans, who brought Santeria to American shores, especially after Castro’s revolution in 1959, are examined in detail. The issues of how Santeria advanced within the American context and what kind of new religious variants emerged out of it are broached at this point. With particular regard to the growing importance of botanicas, the increasing character of commercialisation among different forms of Santeria is critically scrutinised. The final part of this paper deals with contemporary trends in the USA, where Santeria develops from an earlier religious character to a lifestyle-culture, clearly influenced by the process of spiritual shopping. At this point the broad attraction of Santeria, which appeals to multiple social groups in contrast to other immigrant religions, is emphasised. Due to her potential as cultural and religious opportunity for identification among several immigrant communities, Santeria advances to a source of identity among diasporic communities all over an increasingly globalised world.

Recognizable by their cunning exploits and gray morality, tricksters can be found in mythology, folklore, and religions throughout the world. Two tricksters were familiar to the Yoruba people in West Africa, Ajapa and Eshu, and their stories and abilities provide insight to the functions fulfilled by trickster characters. Upon the introduction of Regla de Ocha (or Santeria) to Cuba following the transatlantic slave trade, a new figure emerges, known for his tricks and adaptability. Due to the West African influence in Santeria religious practices, the original roles and traits of Eshu and Ajapa are analyzed for comparison, but Eleggua, the Santeria trickster, has become his own entity. Through ethnographic observations, personal conversations, and a collection of various sources and manuals, this project explores Eleggua and the trickster presence in Cuba. Although his role as a trickster has changed throughout the past few centuries, Eleggua and the trickster identity persists in modern Cuba, visible in religious practices and secular exchanges.

O objetivo desta dissertação é analisar os romances Dreaming in Cuban e The Agüero Sisters, da escritora cubano-americana contemporânea Cristina García, focalizando nos personagens femininos vivendo no exílio. Pretendo examinar as variadas reações à experiência de viver-em-deslocamento exibidas por estes personagens e explorar as transformações em suas identidades diaspóricas, incluindo processos de assimilação, atitudes em relação à herança cultural e a negociação permanente entre culturas que leva ao hibridismo. Também pretendo mostrar que a Santería e o realismo mágico são utilizados por Cristina García para destacar as conexões entes os personagens e seu lugar de origem
The aim of this dissertation is to analyze the novels Dreaming in Cuban and The Agüero Sisters, by contemporary Cuban-American writer Cristina García, focusing on the female characters living in exile. I intend to examine the varied responses to the experience of dwelling-in-displacement exhibited by these characters and to explore the transformations in their diasporic identities, including processes of assimilation, attitudes towards cultural legacy, and the ongoing negotiation between cultures that leads to hybridity. I also intend to show that Santería and magical realism are the elements used by Cristina García to underscore the connections between the characters and their prior home

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Esta tese tem como enfoque o estudo comparativo da Santería cubana e dos Candomblés brasileiros de tradição iorubá. O objetivo foi estudar os perfis identitários destas expressões religiosas de matriz africana, como cultura de resistência ante uma cultura imposta durante séculos de colonialismo pelas elites do poder, no período histórico que vai de 1950 a 2000. Teve-se em vista os mecanismos de enfrentamento ou confrontação que estas religiosidades criaram como via de defesa e inserção social. Tentamos desvendar, na medida do possível e de forma comparativa, as relações políticas e a incidência sócio-cultural no entorno social em que atuaram estas expressões em Cuba e no Brasil, conhecendo de antemão a influência que tradicionalmente elas têm exercido na esfera da consciência individual dos iniciados em seus cultos religiosos. Temas como: africanidade, etnicidade, cultura, resistência, poder e repressão foram analisados em função da estrutura religiosa da Santería e do Candomblé, em contrate com a realidade social que enfrentaram nos países para onde foram transplantadas. Esta estrutura teve como núcleo principal a família religiosa em uma intrincada rede de sociabilidades, que encontrou e ainda encontra nos terreiros e nas casas-templo o ambiente propício para recriar os elementos culturais africanos que sustentam, como parte do continuum das tradições culturais herdadas dos africanos, que buscaram e encontraram um lugar na história e identidade nacional cubana e brasileira, como expressões religiosas de resistência em defesa da identidade cultural.
Salvador

Les orichas sont des divinités d’origine africaine dont le culte est connu à Cuba sous le nom de Santería ou Regla de Ocha. A travers l’interprétation des œuvres de quatre artistes cubains, cette étude entend retracer la généalogie de l’image artistique de ces entités. Participant au mouvement des avant-gardes parisiennes, Wifredo Lam (1902-1982) est le premier artiste cubain à opérer une réappropriation artistique des orichas, conférant une forme de légitimité à une culture marginalisée dans la société postcoloniale. René Portocarrero (1912-1985) explore le syncrétisme qui a uni les orichas et les images catholiques des Saints et des Vierges et fabrique leur première image humaine. Ce n’est qu’avec Manuel Mendive (né en 1944) que les orichas sont imaginés comme des dieux noirs et deviennent des figures positives de la négritude dans l’art. Afin de remettre en question la supposée ancestralité des orichas, Santiago Rodríguez Olazábal (né en 1955) propose à partir des années 1990 des représentations de ces dieux en prise avec le monde contemporain. Cette généalogie des représentations des orichas permet d’interroger la place des cultures des afro-descendants dans les sociétés postcoloniales, les logiques de conservation du patrimoine afro-cubain et de mise en spectacle de celui-ci, ainsi que les formes d’articulation entre la création artistique d’une ancienne périphérie et le marché international de l’art. Elle propose également une réflexion sur les rapports entre la politique, l’art et la religion dans une période déterminante de l’histoire contemporaine de Cuba
Orichas are not only gods from a syncretic Cuban religion, but also Cuban popular culture characters becoming more and more famous abroad. This work intends to understand the invention of oricha artistic images while studying the artworks of four Cuban artists. Following the surrealist and cubist movement, Wifredo Lam (1902-1982) is the first artist to adopt orichas as a subject for his paintings. Through this choice he legitimates a culture that was marginalized in the postcolonial society until then. René Portocarrero (1912-1985) works on the syncretism between orichas and Catholic Saints and Virgins and builds their human representations. But it’s Manuel Mendive (born in 1944) who creates the figures of the black gods and turn them into positive characters of blackness in art. Santiago Rodríguez Olazábal (born in 1955) designs a new way of representing orichas according to contemporary art aesthetics. This genealogy of the orichas focuses on the Afro Cuban cultures role in postcolonial societies, their folklorisation and adaptation to spectacular shows, and the articulation between perpipherical artistic creation and the international art market. It also considers the links between politics, art and religion during a very relevant period of contemporary Cuban history

Grace au dynamisme de la santeria et du candomble, l'ile de cuba et le bresil ont ete marques par la culture noire, revelee, pour l'essentiel, a travers la religion et les contes qui apparaissent comme de veritables sources documentaires. Recueillis aupres d'adeptes santeros et du candomble par lydia cabrera et mestre didi, ces contes proviennent pour la plupart, des odu de l'oracle ifa, systeme divinatoire nago. Ils mettent en action des protagonistes divins, les orisha, dieux secondaires nago mais preponderants, des protagonistes humains et animaux. Les divinites et les defauts interviennent dans la vie des hommes et des heros animaliers, regis tous par la loi bienfaisante des pratiques rituelles de sacrifices et d'offrandes, ebo, et celles de divination. L'africanite, bien que teintee d'une creolisation certaine et d'une universalite evidente, domine dans les recits "transposes" par lydia cabrera et mestre didi avec un cachet personnel; outre cela, l'aspect moral est particulierement souligne dans les recits de la zone lusophone.

Ce mémoire se penche sur un aspect en apparence plutôt surprenant de la politique religieuse du gouvernement révolutionnaire cubain. L'orientation idéologique et politique des dirigeants révolutionnaires les prédisposait à contrôler les activités de groupes et d'institutions potentiellement prédisposés à l'action contre révolutionnaire. Dans cette perspective, les églises, notamment l'Église catholique et les différents cultes protestants, suspectés d'être des lieux de résistance à la révolution, subiront les foudres du régime. Une politique religieuse répressive sera mise en forme et appliquée. Toutefois, la santeria, troisième religion en importance, connaît un sort différent. Et c'est le statut particulier de la santeria, religion populaire par excellence, qui est l'objet de ce mémoire. Aussi, ce mémoire tente de démontrer le caractère particulier de la santeria et, surtout, de mettre en relief son enracinement dans les masses populaire. Ce qui est frappant, c'est le fait que la très grande majorité des «fidèles» de cette religion se recrute parmi la population afro-cubaine, une population traditionnellement opprimée et exploitée. De là le souci des dirigeants révolutionnaires de ne pas s'aliéner les masses et de s'attirer leur appui et le statut particulier de la santeria dans cette politique religieuse. Ce «préjugé» favorable est conforme à des objectifs précis de la direction politique cubaine: la lutte contre le racisme, la définition d'une «nouvelle» identité cubaine sur fond de récupération de l'apport culturel afro-cubain et l'exploitation à des fins de promotion touristique d'éléments folkloriques propres à la tradition santeria. Avec, en arrière-plan, le pari d'une atténuation progressive, voir la disparition éventuelle de cette religion jugée primitive par certains dirigeants, à la faveur de la généralisation de l'éducation. Un pari qui, à l'évidence, est très loin d'être gagné. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Cuba, Religion, Santeria, Folklorisation, Intégration raciale, Identité.