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Afure, Erhomarhua. "Santeria Ritual Sacrificial Practices in Miami." FIU Digital Commons, 2018. https://digitalcommons.fiu.edu/etd/3787.
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The practice of Santeria ritual sacrificial practices among devotees in Miami was investigated, using an ethnographic method with an interview of devotees.
Pierre Bourdieu Habitus, James Scott’s weapon of the weak, Richard Schechner and Victor Turner Performance theory were used for this study. These theories helped in the analysis of the data collected. The research explores the significance of sacrifice in the religious tradition of Santeria in Miami. The study critically examined the goals for animal sacrifices and experiences of devotees in Miami.
The study explored how the socio-cultural, economic and political space of Miami has hindered the sacrificial practice of Santeria and how it has equally sustained its survival.
The spiritual effectiveness of sacrifice, its meaningfulness and how devotees understand the sacrifices to orishas in Santeria religious tradition are properly examined in this research.
The research concludes that the offering of sacrifices to orishas enhances solution to devotee’s problems, it guarantees their spiritual security, better future and sustains their physical and spiritual well-being. Devotees in Miami attested to these benefits as the motivation for their offering of sacrifices to the orisha in the religious practice of Santeria.
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Lopez, Eva Archangel. "Afro-caribbean religion and rituals: Dugu, Voodoo, Santeria, and Brazilian religions/cults." CSUSB ScholarWorks, 2002. https://scholarworks.lib.csusb.edu/etd-project/2319.
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This thesis will explore and discuss the religion and rituals (ancestral cult) of Afro-Caribbean societies, people of African and indigenous heritage. This thesis will also seek to answer the question of extent to which Americans have become tolerant of other people's culture and what influence, if any, have transmitted from the Afro-Caribbean people to other North American societies. The religion and rituals of four Afro-Caribbean groups will be discussed in this study.
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Gaye, Fall Ndèye Anna. "La Regla de Osha à Cuba : à la recherche du centre." Bordeaux 3, 2007. http://www.theses.fr/2007BOR30042.
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Küpper, Stefan. "Santeria – von afrikanischen Orishas über kubanische Heilige zur amerikanischen „Lifestyle-Kultur“." Master's thesis, Universität Potsdam, 2009. http://opus.kobv.de/ubp/volltexte/2009/3920/.
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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.
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Labañino, Yumei de Isabel Morales. "Objetos sagrados: a Santería cubana através de sua cultura material." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8134/tde-23062017-135515/.
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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.
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Gauck, Megan. "Killed a Bird Today: The Emergence and Functionality of the Santeria Trickster, Eleggua." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/honors/461.
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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.
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Beliso-De, Jesú́́́s Aisha Mahina. "Becoming Santeria : a transnational study of cultural politics, media and religion in Cuba and the United States /." May be available electronically:, 2009. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.
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Testa, Silvina. "La conquête de l’est : reconfigurations régionales de la santería cubaine (La Havane – Sagua la Grande)." Paris 10, 2006. http://www.theses.fr/2006PA100163.
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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 culteA 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
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Cribeiro, Marisol. "The Efficacy of San Lazaro and His Manifestations: Divine Mediators of Health Within Miami's Cuban-American Santeria Community." FIU Digital Commons, 2014. http://digitalcommons.fiu.edu/etd/1641.
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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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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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Niblick, Alison. "The Impact of Minority Faith on the Experience of Mental Health Services: The Perspectives of Devotees of Earth Religions." Wright State University Professional Psychology Program / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=wsupsych1342202990.
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Fraga, Santiago Elvia Beatriz. "Turismo religioso y Santería: Diferenciando motivaciones turísticas y religiosas en los desplazamientos de Santeros de Cerrito Colorado, Querétaro, México, hacia la Habana, Cuba." Tesis de Licenciatura, Universidad Autónoma del Estado de México, 2013. http://hdl.handle.net/20.500.11799/65296.
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Tesis para la obtención del título de licenciada en turismoEl 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).
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Ramos, Miguel. "Lucumí (Yoruba) Culture in Cuba: A Reevaluation (1830S -1940s)." FIU Digital Commons, 2013. http://digitalcommons.fiu.edu/etd/966.
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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.
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Van, Der Meer Tony. "Spiritual Journeys: A Study of Ifá /Òrìṣà Practitioners in the United States Initiated by Nigeria." Antioch University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1487938234573904.
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Limonta, Ileana de las Mercedes Hodge. "Cultura de resistência e resistência de uma identidade cultural: a santería cubana e o candomblé brasileiro, (1950-2000)." Programa de Pós- Graduação em História da UFBA, 2009. http://www.repositorio.ufba.br/ri/handle/ri/11253.
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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
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Saldivar, Arellano Juan Manuel. "Un silbato para Elegguá : la producción transnacional de la santería en la ciudad de Lima." Master's thesis, Pontificia Universidad Católica del Perú, 2011. http://tesis.pucp.edu.pe/repositorio/handle/123456789/7276.
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La presente tesis, tiene como objetivo explorar, describir e interpretar las etapas de
transnacionalización de la santería cubana en Lima, Perú. La santería, es una religión
que tiene sus orígenes en la tribu Yoruba, procedente de Benín (antiguo Dahomey) y lo
que hoy se conoce como Nigeria. A partir de los viajes transatlánticos de esclavos
africanos al continente, se formaron diversas religiones, entre estas, la santería,
compuesta por diversas influencias, como el catolicísimo judeocristiano, el espiritismo
kardeciano y el palo monte, religión también de origen africano. En Cuba, la santería es
considerada como la religión más representativa. Fuera del país, la santería se
populariza a través de las migraciones de cubanos a diversos lugares del mundo.
Para el caso peruano, la primera oleada de cubanos que arribó a Lima, fue en
1980, con la llegada de 1, 800 migrantes por asilo político. Los primeros anclajes de
cubanos se ubicaron en el Distrito de San Luis, después poblaron la periferia del
Distrito de Villa el Salvador, conocido como Pachacamác o “barrio de los cubanos”. Los
primeros indicios de la santería se originan en el Distrito de Villa el Salvador, en donde
hacían “curaciones” y consultas con “caracoles” a limeños. Entre 1980 y el 2000,
arribaron a la ciudad amigos y familiares de los primeros anclajes; del 2000 al 2005,
llegaron otros cubanos por diferentes canales, la música, la medicina y el deporte,
algunos dedicándose a la santería. A partir del 2005, la santería se populariza en los
bares, discotecas y restaurantes estilo cubano, ubicados en su mayoría en Miraflores,
arraigándose de esta forma en las clases media/alta limeñas. Actualmente, existen
diversas casas templo lideradas por cubanos, limeños y de otras nacionalidades,
quienes han formado comunidades y familias rituales transnacionales.Tesis
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García, Kenia Ortíz. "O RITUAL COMO ESPAÇO DE CRIAÇÃO E SUSTENTAÇÃO DO GRUPO RELIGIOSO: UMA APROXIMAÇÃO À SANTERÍA OU REGLA DE OCHA." Universidade Metodista de São Paulo, 2008. http://tede.metodista.br/jspui/handle/tede/481.
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This work analyses a ritual practiced in a Cuban religion, known as Santería, as space of creation and sustentation of the religious group. The investigation points out several arguments demonstrating the significance of the Santería as a religious system that helps people to deal with the profound social changes occurred and that are occurring in Cuba along its different historical periods. This, because in this religion the ritual works as a dynamic space that allows people to experience individual, collective, social and religious relationships. It is a space in which those who are involved find assumptions to face their daily life problems and challenges. The research focuses on: aspects related to a ritual named Wemilere or Tambor the Santo, relationships among those who are involved in it, their motivations and the liturgical spaces in which the celebration takes place. The topics here highlighted do not constitute an ultimate thought, but an attempt of studying a religious system which is very significant in the contemporary Cuban socio-cultural context.(AU)
Neste trabalho busca se estudar o ritual, na Santería ou Regla de Ocha, como espaço de criação e sustentação do grupo religioso. Aqui são demonstrados e interpretados argumentos que evidenciam a pertinência da Santería como sistema religioso que ajuda as pessoas a lidarem com as profundas mudanças sociais que aconteceram e continuam a acontecer na sociedade cubana nos diferentes períodos históricos. Isto, devido a que o ritual na Santería é um espaço dinâmico onde se experimentam as relações individuais e coletivas, sociais e religiosas, e onde se fornece pressupostos indispensáveis para as pessoas enfrentarem com os desafios que o cotidiano lhes reserva. A pesquisa destaca aspectos internos do ritual conhecido como o Wemilere ou Tambor de Santo; bem como a relação entre os sujeitos que participam no ritual, as suas motivações e os espaços litúrgicos onde a celebração acontece. Os aspectos abordados no trabalho não constituem uma apreciação definitiva sobre o ritual, mas uma aproximação a um sistema religioso de grande importância no contexto sócio-cultural cubano. (AU)
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Livacic, Teneb Macarena Andrea. "Restauración de imaginería religiosa : esculturas de Candelero, pertenecientes a la Escuela de Santería Chilota, SXIX Museo Municipal de Castro, Chiloé." Tesis, Universidad de Chile, 2016. http://repositorio.uchile.cl/handle/2250/145225.
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Especialización de postítulo en restauración del patrimonio cultural muebleLa presente memoria tiene por objeto desarrollar un trabajo de conservación y restauración diseñado para la intervención de tres imágenes de la Escuela de Santería Chiloense SXIX, pertenecientes actualmente a la colección permanente del Museo Municipal de Castro, cuyo Director es el Sr. Felipe Montiel. Las imágenes corresponden a una escultura de candelero de San Antonio de Padua, y dos Vírgenes de Advocación, también de candelero y realizadas en distintos soportes, todas ellas de autores anónimos. Las que se encuentran en distintos estados de deterioro, por lo que se realizará una metodología de intervención distinta para cada una de ellas, considerando estos aspectos y las patologías que pudieran presentar. En relación al trabajo teórico de la presente memoria, debo señalar que ésta está basada en los criterios definidos por Césare Brandi y Salvador Muñoz Viñas, a través de ambos autores, se realizará una propuesta restaurativa, que una los criterios tradicionales del primero con la mirada más contemporánea del segundo, el que a mí modo de ver, complementa y actualiza la visión tradicional del restauro instalada por C. Brandi. Dicho esto debo precisar que no es que Muñoz Viñas, haga un planteamiento diametralmente opuesto al de Brandi, dejando de lado las investigaciones y teorías anteriores, sino que refresca y amplía su mirada tradicional, incluyendo en su Teoría Contemporánea de la Restauración el interés de, por ejemplo, la comunidad como parte fundamental de la decisión respecto de los proceso de intervención; y sitúa además a la obra, como un objeto “vivo”, que jamás deja de transformarse, dejando atrás la impresión de que la obra de arte como tal, estaba supeditada al momento de creación de ella por manos del artista y que luego de ello cualquier variación que tuviera, incluso, sin que ésta implicara un deterioro evidente, sería parte de “lo ajeno” de la misma.
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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 CubaOrichas 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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Tracy, Elizabeth Corrigan John. "Divine women in Santeria healing with a gendered self /." Diss., 2005. http://etd.lib.fsu.edu/theses/available/etd-04052005-030406.
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Thesis (M.A.)--Florida State University, 2005.Advisor: Dr. John Corrigan, Florida State University, College of Arts and Sciences, Dept. of Religion. Title and description from dissertation home page (viewed June 16, 2005). Document formatted into pages; contains v, 46 pages. Includes bibliographical references.
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Clark, Mary Ann. "Asho Orisha (clothing of the Orisha): Material culture as religious expression in Santeria." Thesis, 1999. http://hdl.handle.net/1911/19365.
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"Asho Orisha" suggests that the objects surrounding and the items clothing the Orisha of Santeria (also known as Lucumi or Orisha religion) form chains of signifiers tied to the theological and philosophical core of the religion. It focuses on the domestic displays devotees maintain for their deities on a day-to-day basis, the altar displays (thrones) created by devotees for the anniversarie's of their initiation into the priesthood, and the body of the new initiate (the iyawo). This work traces the ways in which theological concepts from Africa are redefined and reinterpreted in the Americas so as to maintain a consistent conceptual system in a new environment. It uses a combination of participant-observation, individual interviews and photographic documentation. It includes 13 photographs of altars and clothing.
The focus of this work is divided into three principle sections. Chapter 3 looks at the altars as a whole to see the ways pre-colonial African, colonial Cuban and contemporary American ideas about how one presents and approaches the holy are incorporated into these displays.
Chapter 4 looks at the portions of displays devoted to six major Orisha (Obatala, Shango, Yemaya, Oshun, Ogun and Eleggua) and suggests that color forms a primary semiotic system. An analysis of color symbolism aids in the analysis of the other objects found in these displays.
Chapter 5 extends this semiotic analysis to include the initiation experience and the extended liminal period of the iyawoage. Like the altar displays, the iyawo embodies the Orisha and thus functions as a mobile sacred site. The construction of the persona of the iyawo and the rules surrounding the iyawoage are fruitfully interrogated to explicate additional theological and philosophical concepts. Issues of cross-gender and cross-status dress highlight the ways that clothing serves as a symbolic system to maintain Yoruba ideas about the sacred relationships embodied in the iyawo.
Chapter 6 concludes this work with a discussion of the place of Spanish terminology and Catholic imagery within the semiotic system and briefly discusses the ways in which the religious displays work as mnemonic devices.
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Faraldo-Boulet, Julie. "Politique et religion à Cuba sous la révolution : l'étonnant statut particulier de la Santerìa." Mémoire, 2009. http://www.archipel.uqam.ca/2275/1/M11003.pdf.
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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.