Relevant bibliographies by topics / Santeria in art

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Academic literature on the topic 'Santeria in art'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Santeria in art"

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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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Steele, Cynthia. "The Restorers of Chiloé by Rosabetty Muñoz." Latin American Literary Review 47, no. 93 (May 5, 2020): 71–75. http://dx.doi.org/10.26824/lalr.146.

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This series of poems deals with the restoration of religious statues distributed over the Catholic churches scattered over 21 islands of the remote archipelago of Chiloé, off the coast of southern Chile. A group of art restorers worked for years repairing the damages that had occurred over centuries of exposure to the elements, to the beautiful carved wooden images of Jesus, Mary and various Catholic saints. Since there were not enough priests to serve all the scattered population of Chiloé in Colonial times, the traveling priest appointed a fiscal to represent him in each major town, as a religious and legal authority. This position still exists to this day, although with less power than in Colonial times. The man who was serving as fiscal at the time of the restoration collaborated closely with the art specialists, as did various villagers. Even though none of the members of the restoration team was religious, these poems demonstrate the tenderness and respect they demonstrated, both in their dealings with the religious objects and with the devotees of these objects, the islanders. The saints of Chiloé were also beautifully photographed by Chilean photographer Mariana Mathews in 2008, as can be seen at the digital museum Castillo de Niebla: https://www.museodeniebla.gob.cl/sitio/Contenido/Galerias/36142:Santos-silentes-objetos-de-la-escuela-Santeria-de-Chiloe
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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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CI, Bondar. "The Inlay of San La Muerte as Configurations of the Passionate State of Faith." Anthropology and Ethnology Open Access Journal 6, no. 1 (2023): 1–8. http://dx.doi.org/10.23880/aeoaj-16000208.

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In this presentation we explore the relationships between human bone and the magical-religious ritual use in Northeastern Argentina and southern Paraguay; we approach this problem from the conceptualization of the santera practice as producer of popular sacred art, attending to (a) the use of bone in the carving of the imagery of San La Muerte and (b) its valuation as powerful talisman beyond having been, or not, sculpted in the form of the Saint. We intend to contribute to the description and understanding of part of the religious imagination of Northeastern Argentina and Southern Paraguay, and its derivations and relations with the production of sacred material culture. For the treatment of this problem, fieldwork has been carried out among the population of Catholic faith, prioritizing the ethnographic method were implemented in-depth interviews with devotees and santeros, observations with varying degrees of participation, records in journals and field notes, as well as documentary analysis and varied images.
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Dianteill, Erwan, and Martha Swearingen. "From Hierography to Ethnography and Back: Lydia Cabrera’s Texts and the Written Tradition in Afro-Cuban Religions." Journal of American Folklore 116, no. 461 (July 1, 2003): 273–92. http://dx.doi.org/10.2307/4137792.

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Abstract Two common assumptions about Lydia Cabrera’s ethnographic work are that it is exclusively the result of fieldwork and that Afro-Cuban religions are based on oral tradition. Evidence is provided in this paper to show that 1) Cabrera also made use of early religious texts as a primary source, and 2) that her work has served as an influence on the texts used in modern Afro-Cuban religious practices, such as the anonymous book Manual del Santero (1990). An analysis is provided of the way in which Cabrera included vernacular written sources in her work, and how her work in turn has become a main source for Santería "hierography"-the writting about sacred things.
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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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Palacio, Joseph O. "Sacred Possessions: Vodun, Santeria, Obeah and the Caribbean:Sacred Possessions: Vodun, Santeria, Obeah and the Caribbean." American Anthropologist 100, no. 2 (June 1998): 546–47. http://dx.doi.org/10.1525/aa.1998.100.2.546.

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Menoukha Case. "Santeria: A Practical Guide to Afro-Caribbean Magic, and: Santeria Stories (review)." Callaloo 32, no. 1 (2008): 307–13. http://dx.doi.org/10.1353/cal.0.0326.

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Kalb, Laurie Beth, Louise Cox, and Ray Telles. "Santeros." Western Folklore 49, no. 3 (July 1990): 327. http://dx.doi.org/10.2307/1499636.

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Beliso-De Jesús, Aisha. "Santería Copresence and the Making of African Diaspora Bodies." Cultural Anthropology 29, no. 3 (August 11, 2014): 503–26. http://dx.doi.org/10.14506/ca29.3.04.

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In Santería priesthoods, practitioners are “made” into African diaspora bodies in what is called “making santo.” These embodied epistemologies reveal not only the complex historical practices that have emerged through processes of racialization and enslavement but also how a body logic resituates the formations of diasporic feeling and sensing. I argue that practitioners’ everyday acts redefine the capacities of and for action as part of a spiritual habitus. The various rituals, works, and spiritual acts in Santería thus culminate in a different form of bodily engagement with the world, operating in racial space. This article examines Santería body logics, showing how what I call copresences are activated in somatic racial ontologies. I suggest that these diasporic sensings resituate anthropological universalisms, arguing for a disruption in the debate between mediation and practice in the anthropology of religion. Rather than assuming notions of presence, copresence allows for an intervention that hails Santería’s embodied epistemology as a form of diasporic sensing.
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Dissertations / Theses on the topic "Santeria in art"

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Sanchez, Wendy. "Redefining identities in art through Santeria." Honors in the Major Thesis, University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1323.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.
Bachelors
Arts and Humanities
Humanities
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Asplan, Michael Jay. "PAINTING THE DRAMA OF HIS COUNTRY: RACIAL ISSUES IN THE WORK OF WIFREDO LAM IN CUBA, 1941-1952." University of Cincinnati / OhioLINK, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=ucin973709584.

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Brown, Hyatt Kellim. "The articulate remedies of Dolores Lolita Rodriguez." [Tampa, Fla.] : University of South Florida, 2005. http://purl.fcla.edu/fcla/etd/SFE0001406.

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January, LaTricia M. "Beyond the Threshold: Allusions to the Òrìsà in Ana Mendieta's Silueta Series." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/1391.

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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.
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Castaner, David. "Les orichas dans l'art cubain. Une généalogie de l’image des dieux noirs à travers les œuvres de Wifredo Lam, René Portocarrero, Manuel Mendive et Santiago Rodríguez Olazábal." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL132.

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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
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Lakpassa, Komlan Daholega. "Gods, Have Merced! A Documentary Film." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9763/.

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Gods, Have Merced! chronicles the struggle of Jose Merced, a Santeria priest, with the city of Euless, Texas, where he has been residing for 17 years in an effort to overrule an ordinance that bans the most critical element of his faith: animal sacrifice. As the city officials justify the ban on the basis of public health, Merced thinks he is merely a victim of selective code enforcement aimed a restricting his freedom of religion. Local and national media covered the lawsuit he filed against the City of Euless, and Merced seems ready to take the fight over animal sacrifice to the United States Supreme Court. He wants American justice to give his African-originated religion recognized in a city where people seem uneasy about a practice that brings back the historic fears of Voodoo and its popularly assumed malefic practices. The film explores the complex structure of Santeria, its African roots, its renaissance in the Americas and the very controversial issue of animal sacrifice in the US.
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Books on the topic "Santeria in art"

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Río Castro, Zaida del, 1954-, Moreno Fraginals Manuel, Cruz Gómez Carlos Alberto, and Centro de Desarrollo de las Artes Visuales (Cuba), eds. Herencia clásica: Oraciones populares. La Habana, Cuba: Centro de Desarrollo de las Artes Visuales, 1990.

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Moreno, Dennis. Cuando los orichas se vistieron. La Habana: Centro de Investigación y Desarrollo de la Cultura Cubana Juan Marinello, 2002.

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Mateo Palmer, Margarita, 1950- writer of prologue, ed. Para amanecer mañana, hay que dormir esta noche: Universos religiosos cubanos de antecedente africano ; procesos, situaciones problémicas, expresiones artísticas. La Habana, Cuba: Editorial UH, 2017.

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Arturo, Lindsay, ed. Santería aesthetics in contemporary Latin American art. Washington: Smithsonian Institution Press, 1996.

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Díaz, Irene Curbelo de. El arte de los santeros puertorriqueños =: The art of the Puerto Rican santeros. San Juan, P.R: Instituto de Cultura Puertorriqueña, 1986.

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Ramos, Everardo. Xico Santeiro: Uma escola de arte popular. Natal, RN: EDUFRN, 2015.

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Guzzo, Sandra E. Miguel and the santero. Santa Fe, N.M: New Mexico Magazine, 1993.

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Rivera, Alberto Trivero. Fray Hilario Martínez: Siguiendo las huellas de su santería. Santiago de Chile: Ediciones Tácitas, 2016.

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Salvador, Mari Lyn. Cuando hablan los santos: Contemporary santero traditions from northern New Mexico. New Mexico: Maxwell Museum of Anthropology, 1995.

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Toste, Nitza Mediavilla de. Santos al desnudo. San Juan, P.R: Ediciones Puerto, 2005.

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Book chapters on the topic "Santeria in art"

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Rauhut, Claudia. "Santería." In The Oxford Handbook of Caribbean Religions, 71–88. Oxford University Press, 2024. http://dx.doi.org/10.1093/oxfordhb/9780190916961.013.6.

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Abstract This chapter elaborates on the Afro-Cuban religion Santería, which is one of the most popular religions of African origin in the Americas. It explores a Cuban example of such a “renewal” or appropriation of the African past and present in Cuban Santería. African-based religions in the Americas are more of a product of a transatlantic religious agency that actively reformed and renewed those traditions until the present day. The chapter then discusses the processes of religious globalization and transnationalization after the 1990s before considering strategies of re-Africanization in translocal religious settings. It considers a version of Lúkúmí that offers a more differentiated perspective on the construction and appropriation of the Yoruba religion.
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Tsang, Martin. "“Why Are You Here?”." In Spirited Diasporas, 1–20. University Press of Florida, 2023. http://dx.doi.org/10.5744/florida/9781683403722.003.0001.

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An introduction to the volume that encompasses an opening vignette and a thorough description of each of the Afro-Atlantic religions—e.g., Lucumí, Santería, Haitian Vodou, and Candomblé—to orient the reader. The introduction also includes a discussion of relevant theory, a brief overview of the book and contributors as well as a section on the problem and plurality of spelling conventions for religious terms in various languages.
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Page, Morgan M. "Finding Home in the River." In Spirited Diasporas, 87–101. University Press of Florida, 2023. http://dx.doi.org/10.5744/florida/9781683403722.003.0007.

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Through reflections on the author’s own religious conversion to the Lucumí (Santería) religion, this chapter explores issues of cross-cultural contact, cultural appropriation, and the evolving role of transgender and gender nonconforming people in Afro-Diasporic religions. Threaded through these personal experiences are discussions of the complex roles that race, language, HIV/AIDS, and queerness have played in the historical development of Lucumí’s global spread.
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Lovejoy, Henry B. "Ṣàngó Tẹ̀ Dún." In Prieto, 78–94. University of North Carolina Press, 2019. http://dx.doi.org/10.5149/northcarolina/9781469645391.003.0006.

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Once Prieto retired from the military, he and his wife, Maria Francisca Camejo, became the leaders of one Cuba’s most famous cabildos de nación dedicated to Santa Bárbara, aka Ṣàngó. Their leadership lasted between c. 1818 and 1835. In this mutual aid society, Camejo and Prieto organized extensive festivals, and participated in many different types of religions from Africa and Cuba, which are arguably at the root of modern-day Santería.
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"The Emergence of the Santeras: Renewed Strength for Traditional Puerto Rican Art." In Crafting Gender, 35–46. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822384878-005.

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Corrigan, John, and Lynn S. Neal. "Intolerance toward “New” Religions in the Twentieth Century." In Religious Intolerance in America, Second Edition, 181–214. University of North Carolina Press, 2020. http://dx.doi.org/10.5149/northcarolina/9781469655628.003.0008.

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This chapter examines the power of the “cult” stereotype and how it is used against minority religious groups rhetorically, legally, and, in some cases, violently. The primary sources, ranging from internet hoaxes and jokes to FBI memos and city ordinances, demonstrate the ways that technology, law enforcement, and laws are embroiled in the spread and enactment of religious intolerance against minority religious groups. Readers explore the “cult” stereotype and these patterns through a series of case studies, including Unificationism, Wicca, Heaven’s Gate, the Nation of Islam, and Santería.
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Clark, Mary Ann. "Rituals." In The Oxford Handbook of Caribbean Religions, 335–46. Oxford University Press, 2024. http://dx.doi.org/10.1093/oxfordhb/9780190916961.013.24.

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Abstract This chapter focuses on rituals within the Yoruba religious complex variously known as Santería, Lukumí, and Regla de Ocha. It explains that rituals performed by participants in African-based religions in the Americas are the most important aspects of the religion. Rituals are intended to make the life or lives of the participants better, and more in line with each individual’s destiny for this lifetime. In the Caribbean and parts of Central and South America, groups of the enslaved and the formerly enslaved worked together to recreate the religious practices of their homelands. The chapter reveals that rituals allow individuals to be brought into the religious complex while also making connections with deities and other members of the community.
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