Journal articles: 'Cuban Santeria'

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Mason, Michael Atwood. "Initiation in Cuban Santeria." Anthropology Humanism 29, no. 2 (December 2004): 186–89. http://dx.doi.org/10.1525/ahu.2004.29.2.186.

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Cornelius, Steven. "Sacred Rhythms of Cuban Santeria." Yearbook for Traditional Music 30 (1998): 196. http://dx.doi.org/10.2307/768600.

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Palmié, Stephan. "Making sense of Santería: three books on Afro-Cuban religion." New West Indian Guide / Nieuwe West-Indische Gids 70, no. 3-4 (January 1, 1996): 291–300. http://dx.doi.org/10.1163/13822373-90002624.

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[First paragraph]Santeria from Africa to the New World: The Dead Sell Memories. GEORGE BRANDON. Bloomington: Indiana University Press, 1993. x + 206 pp. (Cloth US$31.50) Working the Spirit: Ceremonies of the African Diaspora. JOSEPH M. MURPHY. Boston: Beacon, 1994. xiii + 263 pp. (Cloth US$ 25.00)Walking with the Night: The Afro-Cuban World of Santeria. RAUL CANIZARES. Rochester VT: Destiny Books, 1993. xii + 148 pp. (Paper US$ 12.95)Since 1959, the steady exodus from revolutionary Cuba has led to the gradual emergence of an Afro-Cuban religious diaspora in the United States. While this phenomenon has attracted scholarly attention for some time, the literature has grown particularly rapidly in recent years. It is, perhaps, not entirely fortuitous that a spate of current academic publications on the subject coincided with a scramble by the popular media to exploit its exotic potential in the context of the 1993 U.S. Supreme Court case on animal sacrifice. Clearly, what has come to be called an Afro-Cuban "cultic renaissance" in exile holds promise both for sensationalist journalism and certain kinds of theoretical projects. Partly articulating with older, but politically reinvigorated debates about the relations between African and African-American cultures, partly addressing fundamental questions about conventional models of cultural boundedness and coherence, and, finally, calling into question both popular and academic notions of "modernity" (and its inevitable counterpart "tradition"), the 292 New West Indian Guide/Nieuwe West-Indische Gids vol. 70 no. 3 &4 (1996)problems posed by the emergence of an Afro-Cuban religious diaspora in the United States present a timely challenge.

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Reyes, Andrés Rodriguez. "Illness and the Rule of Ocha in Cuban Santeria." Transforming Anthropology 12, no. 1-2 (January 2004): 75–79. http://dx.doi.org/10.1525/tran.2004.12.1-2.75.

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Sampedro, Benita. "Divine Utterances: The Performance of Afro-Cuban Santeria (review)." Research in African Literatures 35, no. 2 (2004): 203–4. http://dx.doi.org/10.1353/ral.2004.0053.

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Rey, Terry. "Divine Utterances: The Performance of Afro-Cuban Santeria (review)." Cuban Studies 34, no. 1 (2003): 221–22. http://dx.doi.org/10.1353/cub.2004.0023.

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Moore, Robin. "Divine Utterances: The Performance of Afro-Cuban Santeria (review)." Latin American Music Review 24, no. 1 (2003): 153–55. http://dx.doi.org/10.1353/lat.2003.0011.

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Otero, Solimar, and David H. Brown. "Santeria Enthroned: Art, Ritual, and Innovation in Afro-Cuban Religion." International Journal of African Historical Studies 37, no. 2 (2004): 385. http://dx.doi.org/10.2307/4129031.

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Benjamin-Fuller, Kameelah N. "Divine Utterances: The Performance of Afro-Cuban Santeria:Divine Utterances: The Performance of Afro-Cuban Santeria." Transforming Anthropology 12, no. 1-2 (January 2004): 83. http://dx.doi.org/10.1525/tran.2004.12.1-2.83.

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Wirtz, Kristina. "Santeria in Cuban National Consciousness: A Religious Case of the Doble Moral." Journal of Latin American Anthropology 9, no. 2 (September 2004): 409–38. http://dx.doi.org/10.1525/jlat.2004.9.2.409.

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Wirtz, Kristina. "Santeria in Cuban National Consciousness: A Religious Case of the Doble Moral." Journal of Latin American Anthropology 9, no. 2 (June 28, 2008): 409–38. http://dx.doi.org/10.1525/jlca.2004.9.2.409.

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Brandon, George. "The Uses of Plants in Healing in an Afro-Cuban Religion, Santeria." Journal of Black Studies 22, no. 1 (September 1991): 55–76. http://dx.doi.org/10.1177/002193479102200106.

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y Mena, Andres I. Perez. "Cuban Santeria, Haitian Vodun, Puerto Rican Spiritualism: A Multiculturalist Inquiry into Syncretism." Journal for the Scientific Study of Religion 37, no. 1 (March 1998): 15. http://dx.doi.org/10.2307/1388026.

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Lucero, B. A. "Afro-Cuban Religious Arts: Popular Expressions of Cultural Inheritance in Espiritismo and Santeria." Hispanic American Historical Review 95, no. 2 (January 1, 2015): 392–94. http://dx.doi.org/10.1215/00182168-2874917.

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Mitchell-Hall, Candia. "Kristine Juncker, Afro-Cuban religious arts: popular expressions of cultural inheritance in Espiritismo and Santeria." Canadian Journal of Latin American and Caribbean Studies / Revue canadienne des études latino-américaines et caraïbes 40, no. 3 (September 2, 2015): 436–38. http://dx.doi.org/10.1080/08263663.2015.1090083.

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Schmidt, Jalane D. "The Antidote to Wall Street?" Latin American Perspectives 43, no. 3 (February 19, 2016): 163–85. http://dx.doi.org/10.1177/0094582x16629460.

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When revolutionary Cuba’s governmental cultural policy apparatus cast Afro-Cuban religions as “folklore,” certain religious forms, especially Santería, gained visibility in scholarly investigations, publications, documentary films, and state-sponsored cultural programming. Since the 1990s these discursive treatments of Santería have been monetized by the Cuban tourism industry and state-owned manufacturers and repackaged as merchandise that garners the attention and revenues of Cuban consumers and international visitors. This “ethno-business” produces a paradox: Afro-Cuban popular religions—long admired by the nation’s intellectual and artistic avant-garde as subaltern cultural rebuttals of dominant Cuban bourgeois opinion and U.S. economic pressures alike—are now promoted and consumed in a manner that conforms to neoliberal logic. The Cuban state confronts the challenges of late socialism with the methods of late capitalism. To some extent, the commodification of Afro-Cuban religions acts to fortify and extend revolutionary cultural policy. Cuando el aparato de cultura política del gobierno revolucionario cubano calificó las religiones afro-cubanas como “folclore,” ciertas formas religiosas, sobre todo la Santería, adquirieron visibilidad en investigaciones académicas, publicaciones, documentales, y programación cultural estatal. Desde la década de los noventa estos tratos discursivos de la Santería han sido monetizados por la industria turística cubana y los fabricantes estatales y empaquetado como mercancía que atrae atención e ingresos de los consumidores cubanos y las visitas internacionales. Este “etno-negocio” provoca una paradoja: las religiones populares afro-cubanas —largamente admiradas igualmente por la vanguardia intelectual y artística de la nación como refutaciones culturales subalternas de la opinión burgués cubana dominante como por las presiones económicas estadounidenses— son ahora promocionadas y consumidas conforme a la lógica neoliberal. El estado cubano encara los desafíos del socialismo tardío con los métodos del capitalismo tardío. En cierta medida, la mercantilización de las religiones afro-cubanas actúan para fortalecer y extender la política cultural revolucionaria.

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Muchnik, Maïra. "Johan Wedel, Santeria Healing. A Journey into the Afro-Cuban World of Divinities, Spirits and Sorcery." Archives de sciences sociales des religions, no. 134 (May 1, 2006): 147–299. http://dx.doi.org/10.4000/assr.3646.

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Soto, Edixsandro de Jesús Morán. "La santería cubana en Venezuela, nuevo campo de acción para la pastoral." Albertus Magnus 6, no. 1 (January 17, 2015): 199. http://dx.doi.org/10.15332/s2011-9771.2015.0001.08.

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Este artículo muestra de manera general la práctica de la santería en Venezuela, que hunde sus raíces en su anterior vida en África, que se extiende en sus ramas hasta Cuba con la llegada de los esclavos a esta tierra, y que en la última década hace nido en tierras venezolanas. Su influencia se deja ver sobre todo en gran parte de la población de los fieles católicos, quienes no logran distinguir prácticas de devoción popular con los ritos de santería; de los simpatizantes del gobierno chavista, quienes la han popularizado como la “religión de pueblo bolivariano”, en sintonía con las ideologías nacionalista del actual gobierno de Venezuela y, por supuesto, de las nuevas generaciones de los nacidos en el seno de estas comunidades santeras.Aquí señalamos también el fenómeno del auge de la santería en Venezuela en esta última década, con la llegada de médicos, profesores e ingenieros cubanos traídos a colaborar en la República Bolivariana en sus respectivas áreas, cargando consigo sus tradiciones y costumbres. Se introduce a nociones básicas de esta corriente como son: la Regla de Ocha, santería, los elementos del culto santero, sus ministros, sus divinidades “orichas”, sus principales festividades, para terminar con la presentación de lo que la Iglesia católica define como religiosidad popular, que es expresión de fe de un pueblo.

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Mason, Michael Atwood. ""I Bow My Head to the Ground": The Creation of Bodily Experience in a Cuban American Santeria Initiation." Journal of American Folklore 107, no. 423 (1994): 23. http://dx.doi.org/10.2307/541071.

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Kingsbury, Kate, and R. Andrew Chesnut. "Syncretic Santa Muerte: Holy Death and Religious Bricolage." Religions 12, no. 3 (March 21, 2021): 220. http://dx.doi.org/10.3390/rel12030220.

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In this article, we trace the syncretic origins and development of the new religious movement centered on the Mexican folk saint of death, Santa Muerte. We explore how she was born of the syncretic association of the Spanish Catholic Grim Reapress and Pre-Columbian Indigenous thanatologies in the colonial era. Through further religious bricolage in the post-colony, we describe how as the new religious movement rapidly expanded it integrated elements of other religious traditions, namely Afro-Cuban Santeria and Palo Mayombe, New Age beliefs and practices, and even Wicca. In contrast to much of the Eurocentric scholarship on Santa Muerte, we posit that both the Skeleton Saint’s origins and contemporary devotional framework cannot be comprehended without considering the significant influence of Indigenous death deities who formed part of holistic ontologies that starkly contrasted with the dualistic absolutism of European Catholicism in which life and death were viewed as stark polarities. We also demonstrate how across time the liminal power of death as a supernatural female figure has proved especially appealing to marginalized socioeconomic groups.

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Mason, Michael Atwood. ""The Blood That Runs Through the Veins": The Creation of Identity and a Client's Experience of Cuban-American "Santeria Dilogun" Divination." TDR (1988-) 37, no. 2 (1993): 119. http://dx.doi.org/10.2307/1146253.

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Zapata-Calle, Ana. "El discurso desincretizador y womanista de Georgina Herrera: hacia una descolonización de la espiritualidad de la mujer negra cubana." Cuestiones de género: de la igualdad y la diferencia, no. 12 (June 24, 2017): 79. http://dx.doi.org/10.18002/cg.v0i12.3869.

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ResumenEl propósito de este artículo es usar la poesía de Georgina Herrera para deconstruir la tradición de la santería que considera la religión yoruba como una ramificación del catolicismo y no como una religión universal. Georgina Herrera refleja en sus poemarios África (2006) y Gatos y liebres o libro de las conciliaciones (2010) el nuevo discurso afro-cubano que apuesta por una heterogeneidad religiosa que emerge en Cuba a finales de los años ochenta. Además, la poeta aboga en su poesía por el derecho del liderazgo religioso de la mujer afro-cubana, recuperando las practicas yorubas ortodoxas y el papel activo de las mujeres en sus rituales. AbstractThe purpose of this article is to use Georgina Herrera’s poetry in order to deconstruct the tradition of santería that considers the Yoruba religion under the wing of Catholicism and not as a universal religion. Georgina Herrera reflects in her books of poems África (2006) and Gatos y liebres o libro de las conciliaciones (2010) the new Afro-Cuban discourse of religious heterogeneity that emerged in Cuba at the end of the eighties. Furthermore, the poet advocates for the right to leadership of Afro-Cuban women recovering the orthodox Yoruba practices and the active role of women in their rituals.

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Castellanos Llanos, Gabriela. "Identidades raciales y de género en la santería afrocubana." La Manzana de la Discordia 4, no. 1 (March 15, 2016): 63. http://dx.doi.org/10.25100/lamanzanadeladiscordia.v4i1.1475.

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Resumen: Se exploran las concepciones de géneroen la santería o regla de Ocha una religión que tieneconsecuencias culturales muy importantes en Cuba tantodesde el punto de vista étnico y racial como para lasrelaciones de género. Este trabajo analiza algunas deestas consecuencias, planteando sus implicaciones parala identidad racial afrocubana, centrándose en lascaracterísticas del sistema de género que está implícitoen las creencias y en los rituales de la santería. El trabajobosqueja las características principales de la santería yalgunos aspectos de su posible efecto en el racismo enCuba, antes de examinar el estatus de las mujeres enesta religión. Se refuta la afirmación de una investigadorade que en la sociedad yoruba tradicional no existe elconcepto de mujer como inferior que es típico delpatriarcado occidental, o de otra de que la santeríacubana es una religión de base femenina, donde lofemenino es normativo. Sin embargo, se concluye quelas concepciones occidentales de la división radical delos dos sexos en dos entidades totalmente rígidas y biendelimitadas, están ausentes en la santería.Palabras clave: religiones afro-cubanas, santería,identidad, raza, géneroAbstract: This article explores the conceptions ofgender in santería or Regla de Ocha, a religion whichhas important cultural consequences in Cuba both forracial and gender relations. It analyzes some of theseconsequences for Afro-Cuban racial identity and focuseson the gender system implicit in beliefs and rituals in santería. The text portrays the major characteristics of santería and some of its possible effects on racism in Cuba, before examining the status of women in this religion. It refutes the claim by one researcher that in traditional Yoruba society there is no concept of women as inferior as found in Western patriarchy, and that of another researcher that Cuban santería is a femalebased religion, where femininity is normative. However, it is concluded that Western conceptions of the radical split of the sexes in two rigid and well-defined entities are absent in santería.Key words: Afro-Cuban religions, santería, identity,race, gender

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Zavala, Adriana. "Blackness Distilled, Sugar and Rum." Latin American and Latinx Visual Culture 1, no. 2 (April 2019): 8–32. http://dx.doi.org/10.1525/lavc.2019.120003.

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María Magdalena Campos-Pons (b. 1959, Matanzas, Cuba) is a Cuban artist with Yoruba (Nigerian), Chinese, and Spanish roots. She is also a black US-based artist. Known for performative and installation-based work as well as photography, paintings, and videos in which her body functions as resource, medium, and site, she has recently turned to more metaphorical representations of the body. History and memory, as well as the ritual (Lucumí or Santería) and material culture of her enslaved Nigerian and indentured Chinese ancestors brought to Cuba in the nineteenth century to work in the island’s sugar plantation system, have been key touchstones for her work. Since the 1990s she has frequently employed sugar as a material for critically exploring the complex workings of colonialism. Alchemy of the Soul, Elixir for the Spirits, commissioned by the Peabody Essex Museum in Salem, Massachusetts, in 2015, is the most recent of her sugar works. The installation explored, metaphorically, the distillation of New England rum from Cuban sugar. This paper examines it in relation to Campos-Pons’s persistent interests, such as forced removal, migration, trade networks, memory, Lucumí/Santería, mestizaje, transculturation, and racism. It also examines the installation’s site to argue that the work explores black being in distinct but interrelated contexts: Cuba and New England. A powerful conjunction of objects, site, and performance, the work directed attention to a New England exceptionalism that persists in framing slavery’s violence as elsewhere. RESUMEN María Magdalena Campos-Pons (n. 1959, Matanzas, Cuba) es una artista cubana de ascendencia yoruba (nigeriana), china y española. Es también una artist negra en los estados unidos. Estas y otras identidades trianguladas forman la base de sus treinta años de carrera artística. Conocida por su trabajo performativo y basado en la instalación, así como por la fotografía, la pintura y el video en que su cuerpo funciona como recurso, medio y sitio, se ha dedicado últimamente a representaciones más metafóricas del cuerpo. La historia y la memoria, así como el ritual (Lucumí o Santería) y la cultura material de sus antepasados nigerianos y chinos esclavizados, que fueron traídos a Cuba en el siglo XIX para trabajar en las plantaciones de azúcar de la isla, han sido elementos clave de su trabajo. Desde la década de 1990, ha empleado con frecuencia el azúcar como un material para explorar críticamente el complejo sistema del colonialismo. La instalación Alchemy of the Soul, Elixir for the Spirits, que fue encargada por el Peabody Essex Museum, en Salem, MA en 2015, es la más reciente de las obras azucareras de Campos-Pons. La instalación exploró metafóricamente la destilación del ron de Nueva Inglaterra a partir del azúcar cubano. Este artículo explora Alchemy of the Soul, Elixir for the Spirits en relación con los sitios discursivos de Campos-Pons (expulsión forzada, migración, redes de comercio, memoria, Lucumí/Santería, mestizaje (mezcla etno-racial), transculturación, racismo). También examina el sitio de la instalación para defender la tesis de que la obra explora el ser negro en contextos distintos pero interrelacionados: Cuba y Nueva Inglaterra. Como conjunto de objetos, sitio y performance, el proyecto también llamó la atención sobre la Nueva Inglaterra y el excepcionalismo del norte, que sigue pensando la violencia de la escalvitud como algo ajeno. RESUMO María Magdalena Campos-Pons (n. 1959, Matanzas, Cuba) é uma artista cubana com raízes iorubás (nigerianas), chinesas e espanholas. Ela também é uma artista norte-americana negra. Essas e outras identidades trianguladas estão no centro de sua prática artística há 30 anos. Conhecida pela utilização de performance e instalação, assim como fotografia, pintura e vídeo, nos quais seu corpo funciona como recurso, meio e local, ela voltou-se recentemente para representações mais metafóricas do corpo. História e memória – bem como o ritual (Lucumí ou Santería) e a cultura material de seus antepassados escravos nigerianos e escravos trazidos para Cuba no século 19 para trabalhar no sistema de plantação de cana da ilha – foram fundamentais para seu trabalho. Desde a década de 1990, ela frequentemente emprega o açúcar como um material para explorar criticamente o complexo funcionamento do colonialismo. A instalação de Campos-Pons, Alchemy of the Soul, Elixir for the Spirits, comissionada pelo Peabody Essex Museum, em Salem, Massachusetts, em 2015, é a mais recente das suas obras de açúcar. A instalação explorou, metaforicamente, a destilação do rum da Nova Inglaterra a partir do açúcar cubano. Este artigo explora Alchemy of the Soul, Elixir for the Spirits em relação aos sítios discursivos de Campos-Pons – remoção forçada, migração, redes de comércio, memória, Lucumí/Santería, mestizaje (mistura étnico-racial), transculturação, racismo. Ele também examina o local da instalação para argumentar que o trabalho explora o ser negro em contextos distintos, mas inter-relacionados: Cuba e Nova Inglaterra. Como uma conjunção de objetos, local e performance, dirigiu atenção, também, para uma Nova Inglaterra ou para o excepcionalismo do norte que persiste em enquadrar a violência da escravidão como situada em outros lugares.

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Chase, Christopher W. "Kristine Juncker, Afro-Cuban Religious Arts: Popular Expressions of Cultural Inheritance in Espiritismo and Santeria (Gainsville: University Press of Florida, 2014), xx + 174 pp., $74.95 (cloth)." Pomegranate: The International Journal of Pagan Studies 16, no. 1 (January 10, 2015): 125–29. http://dx.doi.org/10.1558/pome.v16i1.26451.

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Miller, Ivor L. "Religious Symbolism in Cuban Political Performance." TDR/The Drama Review 44, no. 2 (June 2000): 30–55. http://dx.doi.org/10.1162/10542040051058690.

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When a white dove alights on his shoulder, is Fidel Castro being crowned by Obatalá, a Santería god? What is the relationship between Santería, Cuba's vibrant Afro-Caribbean religion, and Cuba's head of state?

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KITLV, Redactie. "Bookreviews." New West Indian Guide / Nieuwe West-Indische Gids 83, no. 1-2 (January 1, 2009): 121–86. http://dx.doi.org/10.1163/13822373-90002463.

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Afro-Atlantic Dialogues: Anthropology in the Diaspora, edited by Kevin A. Yelvington (reviewed by Aisha Khan)Central Africans, Atlantic Creoles, and the Foundation of the Americas, 1585-1660, by Linda M. Heywood & John K. Thornton (reviewed by James H. Sweet)An Eye for the Tropics: Tourism, Photography, and Framing the Caribbean Picturesque, by Krista A. Thompson (reviewed by Carl Thompson)Taíno Indian Myth and Practice: The Arrival of the Stranger King, by William F. Keegan (reviewed by Frederick H. Smith) Historic Cities of the Americas: An Illustrated Encyclopedia, by David F. Marley (reviewed by Richard L. Kagan) Arming Slaves: From Classical Times to the Modern Age, edited by Christopher Leslie Brown & Philip D. Morgan (reviewed by James Sidbury)Sweet Negotiations: Sugar, Slavery, and Plantation Agriculture in Early Barbados, by Russell R. Menard (reviewed by Kenneth Morgan)Jamaica in 1850 or, The Effects of Sixteen Years of Freedom on a Slave Colony, by John Bigelow (reviewed by Jean Besson) Moral Capital: Foundations of British Abolitionism, by Christopher Leslie Brown (reviewed by Cassandra Pybus) Caribbean Journeys: An Ethnography of Migration and Home in Three Family Networks, by Karen Fog Olwig (reviewed by George Gmelch) Afro-Caribbean Immigrants and the Politics of Incorporation: Ethnicity, Exception, or Exit, by Reuel R. Rogers (reviewed by Kevin Birth) Puerto Rican Arrival in New York: Narratives of the Migration, 1920-1950, edited by Juan Flores (reviewed by Wilson A. Valentín-Escobar)The Conquest of History: Spanish Colonialism and National Histories in the Nineteenth Century, by Christopher Schmidt-Nowara (reviewed by Aline Helg)Gender and Slave Emancipation in the Atlantic World, edited by Pamela Scully & Diana Paton (reviewed by Bernard Moitt) Gender and Democracy in Cuba, by Ilja A. Luciak (reviewed by Florence E. Babb) The “New Man” in Cuba: Culture and Identity in the Revolution, by Ana Serra (reviewed by Jorge Duany) Lydia Cabrera and the Construction of an Afro-Cuban Cultural Identity, by Edna M. Rodríguez-Mangual (reviewed by Brian Brazeal) Worldview, the Orichas, and Santeria: Africa to Cuba and Beyond, by Mercedes Cros Sandoval (reviewed by Elizabeth Pérez)The 1812 Aponte Rebellion in Cuba and the Struggle against Atlantic Slavery, by Matt D. Childs (reviewed by Manuel Barcia) Caliban and the Yankees: Trinidad and the United States Occupation, by Harvey R. Neptune (reviewed by Selwyn Ryan) Claims to Memory: Beyond Slavery and Emancipation in the French Caribbean, by Catherine A. Reinhardt (reviewed by Dominique Taffin) The Grand Slave Emporium, Cape Coast Castle and the British Slave Trade, by William St. Clair (reviewed by Ray A. Kea) History of the Caribbean, by Frank Moya Pons (reviewed by Olwyn M. Blouet) Out of the Crowded Vagueness: A History of the Islands of St Kitts, Nevis & Anguilla, by Brian Dyde (reviewed by Karen Fog Olwig) Scoping the Amazon: Image, Icon, Ethnography, by Stephen Nugent (reviewed by Neil L. Whitehead)

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Gleason, Judith. "Religion - David H. Brown. Santeria Enthroned: Art, Ritual, and Innovation in an Afro-Cuban Religion. Chicago: University of Chicago Press, 2003. xx + 413 pp. Illustrations. Notes. Bibliography. Index. $38.00. Paper." African Studies Review 49, no. 1 (April 2006): 192–93. http://dx.doi.org/10.1353/arw.2006.0068.

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Sáez Laredo, Liudamys Barbara. "Me echó bilongo… La brujería sexual entre la dominación masculina y la enemistad genérica: dos casos en la Cuba del periodo especial." Atlánticas. Revista Internacional de Estudios Feministas 4, no. 1 (September 7, 2020): 358–85. http://dx.doi.org/10.17979/arief.2019.4.1.4365.

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Este trabajo indaga cómo operó la brujería sexual dentro de las relaciones de poder sexogenéricas a mediados del periodo especial (1990-2000) en Cuba. Desde la metodología cualitativa se analiza la brujería sexual en la sociedad cubana durante la mencionada etapa, usando varios testimonios, entre ellos el de mi bisabuela, una santera cubana con cerca de cincuenta años de práctica La reflexión concluye que la brujería sexual opera en tres sentidos fundamentales: primero, como arma ante la dominación masculina que compensa el cambiante equilibrio de poder entre los sexos dentro de la relación marital, sobre la base de las costumbres y las leyes del orden social; segundo, integra las relaciones de poder entre mujeres evidenciando una enemistad genérica femenina; y tercero crea jerarquías sexuales y sociales que se entrecruzan con otras categorías naturalizadas de desigualdad.

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Palmié, Stephan. "Now You See It, Now You Don’t: Santería, Anthropology, and the Semiotics of “Belief” in Santiago de Cuba." New West Indian Guide / Nieuwe West-Indische Gids 84, no. 1-2 (January 1, 2010): 87–96. http://dx.doi.org/10.1163/13822373-90002448.

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[First paragraph]Ritual, Discourse and Community in Cuban Santería: Speaking a Sacred World. Kristina Wirtz. Gainesville: University Press of Florida, 2007.xxiv + 253 pp. (Cloth US $ 59.95)Crossing the Waters: A Photographic Path to the Afro-Cuban Spirit World. Claire Garoutte & Anneke Wambaugh. Durham NC: Duke University Press, 2007. xiii + 258 pp. (Paper US $ 24.95)In recent years, the literature on Santería has grown by leaps and bounds. Check the call number BL2532.S3 in the Library of Congress online catalogue, and you will see that, as of January 2009, the number of acquisitions it includes has reached exactly one hundred, with thirty new additions since the beginning of the millennium! Of course, BL2532.S3 locates a somewhat heterogeneous array of publications – ranging, as they do, from full-fledged academic monographs to practitioners’ manuals and memoirs, or the type of flimsy booklet one is likely to encounter in dog-eared versions in the book market at Havana’s Plaza de Armas. But it is clear that even specialists are nowadays likely to throw up their hands in despair over the dwindling prospects of being able to keep up with this flood of representations of Santería.

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Palmié, Stephan. "Santería grand slam: Afro-Cuban religious studies and the study of Afro-Cuban religion." New West Indian Guide / Nieuwe West-Indische Gids 79, no. 3-4 (January 1, 2008): 281–300. http://dx.doi.org/10.1163/13822373-90002510.

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[First paragraph]Living Santería: Rituals and Experiences in an Afro-Cuban Religion. MICHAEL ATWOOD MASON. Washington DC: Smithsonian Institution Press, 2002. ix + 165 pp. (Paper US$ 16.95)Divine Utterances: The Performance of Afro-Cuban Santería. KATHERINE J. HAGEDORN. Washington DC: Smithsonian Institution Press, 2001. xvi + 296 pp. (Cloth US$ 40.00)The Light Inside: Abakuá Society Arts and Cuban Cultural History. DAVID H. BROWN. Washington DC: Smithsonian Institution Press, 2003. xix + 286 pp. (Cloth US$ 44.23)Santería Enthroned: Art, Ritual, and Innovation in an Afro-Cuban Religion. DAVID H. BROWN. Chicago: The University of Chicago Press, 2003. xx + 413 pp. (Paper US$ 38.00)Ethnographic objects behave in curious ways. Although they clearly are “our constructions,” field sites and even topically circumscribed (rather than spatially delimited) ethnographic problems lead double lives: places and problems change not merely because they factually undergo historical changes, but because researchers come to them from historically no less changeable epistemic vantage points. One can imagine generational cohorts of ethnographers marching across the same geographically or thematically defined terrain and seeing different things – not just because of substantial changes that have factually occurred, but because they have come to ask different questions. The process obviously has its dialectical moments. The figures we inscribe in writing from fleeting observations (based on changing theoretical conceptions) are no less subject to history than the empirical grounds from which our discursive efforts call them forth. The result is a curious imbrication of partially autonomous, but also partly overlapping, historicities of lives and texts which, at times, are more difficult to keep apart than it would seem at first glance. At least in the study of Afro-Cuban religious culture, the two practical and discursive fields – one circumscribed by the practical, but perhaps misleading label “Afro-Cuban religion,”1 and the other designated by whatever term one might like to affix to the study of it – cannot be easily separated: much as in the Brazilian case (Braga 1995, Capone 1999, Matory 1999, 2001), practitioners of Afro-Cuban religions and their ethnographers have engaged each other in a dialogue since at least the second decade of the twentieth century. That it took us so long to understand this fact has much to do with the way both “Afro-Cuban religion” and “Afro-Cuban ethnography” originally (and lastingly) became discursively objectified: the former largely under the sign of a search for “authentically African” elements in New World cultural practices, the second as an instrument for “verifying” (and thereby authorizing) such “Africanisms” (Scott 1991).

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Palmié, Stephan. "Santería grand slam: Afro-Cuban religious studies and the study of Afro-Cuban religion." New West Indian Guide / Nieuwe West-Indische Gids 79, no. 3-4 (January 1, 2005): 281–300. http://dx.doi.org/10.1163/22134360-90002510.

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[First paragraph]Living Santería: Rituals and Experiences in an Afro-Cuban Religion. MICHAEL ATWOOD MASON. Washington DC: Smithsonian Institution Press, 2002. ix + 165 pp. (Paper US$ 16.95)Divine Utterances: The Performance of Afro-Cuban Santería. KATHERINE J. HAGEDORN. Washington DC: Smithsonian Institution Press, 2001. xvi + 296 pp. (Cloth US$ 40.00)The Light Inside: Abakuá Society Arts and Cuban Cultural History. DAVID H. BROWN. Washington DC: Smithsonian Institution Press, 2003. xix + 286 pp. (Cloth US$ 44.23)Santería Enthroned: Art, Ritual, and Innovation in an Afro-Cuban Religion. DAVID H. BROWN. Chicago: The University of Chicago Press, 2003. xx + 413 pp. (Paper US$ 38.00)Ethnographic objects behave in curious ways. Although they clearly are “our constructions,” field sites and even topically circumscribed (rather than spatially delimited) ethnographic problems lead double lives: places and problems change not merely because they factually undergo historical changes, but because researchers come to them from historically no less changeable epistemic vantage points. One can imagine generational cohorts of ethnographers marching across the same geographically or thematically defined terrain and seeing different things – not just because of substantial changes that have factually occurred, but because they have come to ask different questions. The process obviously has its dialectical moments. The figures we inscribe in writing from fleeting observations (based on changing theoretical conceptions) are no less subject to history than the empirical grounds from which our discursive efforts call them forth. The result is a curious imbrication of partially autonomous, but also partly overlapping, historicities of lives and texts which, at times, are more difficult to keep apart than it would seem at first glance. At least in the study of Afro-Cuban religious culture, the two practical and discursive fields – one circumscribed by the practical, but perhaps misleading label “Afro-Cuban religion,”1 and the other designated by whatever term one might like to affix to the study of it – cannot be easily separated: much as in the Brazilian case (Braga 1995, Capone 1999, Matory 1999, 2001), practitioners of Afro-Cuban religions and their ethnographers have engaged each other in a dialogue since at least the second decade of the twentieth century. That it took us so long to understand this fact has much to do with the way both “Afro-Cuban religion” and “Afro-Cuban ethnography” originally (and lastingly) became discursively objectified: the former largely under the sign of a search for “authentically African” elements in New World cultural practices, the second as an instrument for “verifying” (and thereby authorizing) such “Africanisms” (Scott 1991).

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Bilby, Kenneth. "Divine Utterances: The Performance of Afro-Cuban Santería." American Ethnologist 30, no. 4 (November 2003): 628–29. http://dx.doi.org/10.1525/ae.2003.30.4.628.

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Clark, Mary Ann. "Godparenthood and the Afro-Cuban Religious Tradition of Santería." Religious Studies and Theology 22, no. 1 (March 13, 2007): 45–62. http://dx.doi.org/10.1558/rsth.v22i1.45.

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Wirtz, Kristina. "Materializations of oricha voice through divinations in Cuban Santería." Journal de la société des américanistes 104, no. 104-1 (June 15, 2018): 149–77. http://dx.doi.org/10.4000/jsa.15808.

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Lisocka-Jaegermann, Bogumiła. "Debates on Women and Femininity in Cuban Santería: Postcolonial Interpretations." Studia Religiologica 52, no. 3 (2019): 177–90. http://dx.doi.org/10.4467/20844077sr.19.013.11372.

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Kieżel, Bogusław. "Orishas in Cuban Santería According to Nelson Marcos Aboy Domingo." Rocznik Teologii Katolickiej 16, no. 1 (2017): 7–20. http://dx.doi.org/10.15290/rtk.2017.16.1.01.

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Maniсhkin, Nestor A. "TRICKSTER SPIRITS AND MIRACLES IN CUBA’S AFROGENIC RELIGIOUS TRADITIONS." Studia Religiosa Rossica: Russian Journal of Religion, no. 1 (2021): 99–119. http://dx.doi.org/10.28995/2658-4158-2021-1-99-119.

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The article is devoted to the phenomenon of a miracle in Cuba. The author traces the historical and cultural features of the development of Cuba and develops an idea of the transculturation of the miracle. He analyzes how Afro-genic traditions such as Santeria, Palo Monte and others were enriched with European-Christian and Indian elements, adapting them to their cosmologies and magical practices. Special attention is paid to the role of the trickster spirits, especially Eshu, as well as witchcraft with the help of dangerous, demonic forces. The article is based on the field material collected by the author in Cuba in 2013 and 2019 through informal interviews and participant observation.

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Escalante, Alejandro Stephano. "Trans* Atlantic Religion." TSQ: Transgender Studies Quarterly 6, no. 3 (August 1, 2019): 386–99. http://dx.doi.org/10.1215/23289252-7549484.

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Abstract This article is about spirit possession in Cuban Santería and how the relationship between an orisha and their devotee reveals an unstable gender identity that avails itself to trans* studies. Taking an ethnographic scene from the work of Aisha M. Beliso-De Jesús, wherein a female devotee named Belkis is possessed by her male orisha Changó, this article argues that Santería offers a genderqueer way of understanding the relationship between gods and humans. It makes use of Jack Halberstam's differentiation between “trans*” and “trans,” in which the former allows for myriad gender identities and contradictions that the stability of “trans” might otherwise seek to concretize. The modification of “transatlantic” to “trans* Atlantic” allows for a consideration of the fluidity of genders and sexuality that is often missed in black Atlantic studies and highlights the important role of religion in gender and black Atlantic studies.

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Matory, J. Lorand. "Free to Be a Slave: Slavery as Metaphor in the Afro-Atlantic Religions." Journal of Religion in Africa 37, no. 3 (2007): 398–425. http://dx.doi.org/10.1163/157006607x218764.

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AbstractScholars tend to regard enslavement as a form of disability inflicted upon the enslaved. This paper confronts the irony that not all black Atlantic peoples and religions conceive of slavery as an equally deficient condition or as the opposite of freedom and other rights that are due to respected human beings. Indeed, the religions of enslaved Afro-Latin Americans and their descendants—including Brazilian Candomblé, Cuban and Cuban-diaspora Ocha (or Santería) and Haitian Vodou—are far more ambivalent about slavery than most scholars and most Black North Americans might expect. In these religions, the slave is often understood to be the most effective spiritual actor, either as the most empowering servant of the supplicant's goals or as the most effective model for supplicants' own action upon the world. These ironies are employed to illuminate the unofficial realities of both the Abrahamic faiths and the North American practices of 'freedom'.

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Mason, Michael Atwood. "Living Santeríía: Rituals and Experiences in an Afro-Cuban Religion." Nova Religio 8, no. 1 (July 1, 2004): 120–21. http://dx.doi.org/10.1525/nr.2004.8.1.120.

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CASTILLO TERAN, GABRIELA. "Las rutas del creer. Circulación, relocalización y reinterpretación de la tradición orisha." Encartes 4, no. 8 (September 21, 2021): 359–67. http://dx.doi.org/10.29340/en.v4n8.232.

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Aunque hay una larga tradición de importantes investigaciones sobre santería y cultura africana en México, sin duda el trabajo de Nahayeilli Juárez Huet constituye la investigación reciente más importante por actual, completa, extensa y cuidadosa. Este trabajo resulta lectura imprescindible para entender la dinámica de la tradición orisha en México y su relación con Cuba y Nigeria, donde también explora los vínculos con el cristianismo y el islam.

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Johnson, Paul Christopher. "Ritual, Discourse, and Community in Cuban Santería: Speaking a Sacred World. Kristina Wirtz." Journal of Anthropological Research 64, no. 4 (December 2008): 592–94. http://dx.doi.org/10.1086/jar.64.4.20371309.

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Maha Marouan. "Santería in Cuba: contested issues at a time of transition." Transition, no. 125 (2018): 57. http://dx.doi.org/10.2979/transition.125.1.09.

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Castro-Ramírez, Luis Carlos. "El decir-hacer en una ceremonia de Okolun." Oralidad-es 4 (August 21, 2020): 1–13. http://dx.doi.org/10.53534/oralidad-es.v4a1.

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En los sistemas religiosos de inspiración afro, como el espiritismo cruzao, la santería, el palo monte y el vodou, entre otros, la oralidad ocupa un lugar relevante. Esto se puede apreciar en diferentes niveles, como la enseñanza de las tradiciones, las prácticas rituales y el quehacer religioso, aspectos que se encuentran íntimamente vinculados. Los mitos, las plegarias y los cantos que aparecen en la escena ritual vehiculizan las posibilidades de transformar la realidad fenoménica de los participantes. De aquí se desprende la idea de un decir-hacer, lo cual indica que la palabra no solo es nominativa o enunciativa; la palabra es acción. Sin ella los objetos, las imágenes y las plantas utilizados con fines terapéuticos serían tan solo objetos desprovistos de poder. Así, a partir del trabajo etnográfico y narrativo basado en el trabajo de campo realizado en Cuba en 2013 durante una ceremonia de entrega de Olokun, se discutirá el lugar de la palabra dentro de la santería.

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Brown, David H. "Santeríía Enthroned: Art, Ritual, and Innovation in an Afro-Cuban Religion." Nova Religio 9, no. 1 (August 1, 2005): 112–14. http://dx.doi.org/10.1525/nr.2005.9.1.112.

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Saldivar, Juan M. "ETNOGRAFÍA TRANSNACIONAL DE LA SANTERÍA CUBANA EN SANTIAGO, CHILE (1990-2012)." Universum (Talca) 33, no. 2 (December 2018): 171–92. http://dx.doi.org/10.4067/s0718-23762018000200171.

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Saldívar Arellano, Juan Manuel. "VIVIENDO LA RELIGIÓN DESDE LA MIGRACIÓN, TRANSNACIONALIZACIÓN DE LA SANTERÍA CUBANA EN LIMA, PERÚ; LA PAZ, BOLIVIA Y SANTIAGO, CHILE (1980-2013)." Revista Reflexiones 94, no. 2 (June 29, 2016): 133–44. http://dx.doi.org/10.15517/rr.v94i2.25463.

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Las religiones afroamericanas en la actualidad están experimentando diversas formas de ser y pertenecer, pues los nuevos contextos de anclaje se encuentran diseminados a partir de los establecimientos de comunidades migrantes, de la difusión de sus prácticas culturales y la legitimación/institucionalización de las mismas entre locales. La santería en sus procesos de transnacionalización religiosa está manifestándose como una ola mística contra geográfica que propone una serie de particularidades desde el interior de sus prácticas rituales, sobre todo entre mentores/participantes es decir, padrinos/ahijados quienes se involucran de manera creciente permitiéndoles extender sus redes religiosas. En lo que concierne al contexto sudamericano, la singularización de la santería se erige como un fenómeno religioso que se ha vinculado estrechamente con procesos históricos, culturales y políticos propios de lugares como Lima, Perú, La Paz, Bolivia y Santiago, Chile a partir de la llegada de los emigrados cubanos y el auge de sus tradiciones culturales.

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Lefever, Harry G. "When the Saints Go Riding in: Santeria in Cuba and the United States." Journal for the Scientific Study of Religion 35, no. 3 (September 1996): 318. http://dx.doi.org/10.2307/1386562.

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MCINTOSH, JANET. "Ritual, Discourse, and Community in Cuban Santería: Speaking a Sacred World – By Kristina Wirtz." Journal of Linguistic Anthropology 18, no. 1 (June 2008): 163–64. http://dx.doi.org/10.1111/j.1548-1395.2008.00013.x.

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Journal articles on the topic 'Cuban Santeria'

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