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Divine Utterances: The Performance of Afro-Cuban Santeria, by Katherine J. Hagedorn
Kostenfreier Download Divine Utterances: The Performance of Afro-Cuban Santeria, by Katherine J. Hagedorn
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Pressestimmen
“A highly original work . . . that will stand out as the most thorough exploration of Santería music performance, both religious and theatrical.”—Raul Fernández, University of California, Irvine
Synopsis
Hagedorn (music, Pomona College) considers the cultural and spiritual power of Afro-Cuban Santerfa, and the process of its secularization. Focusing on the connections between sacred performances and theatrical dramatizations, she argues that constructions of race and gender, Cuban politics, tourist economics, and the contemporary practices of the S
Alle Produktbeschreibungen
Produktinformation
Taschenbuch: 312 Seiten
Verlag: Smithsonian Books; Auflage: Pap/Com (17. August 2001)
Sprache: Englisch
ISBN-10: 1560989475
ISBN-13: 978-1560989479
Größe und/oder Gewicht:
15,2 x 1,6 x 22,8 cm
Durchschnittliche Kundenbewertung:
Schreiben Sie die erste Bewertung
Amazon Bestseller-Rang:
Nr. 577.617 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)
I read as much as I can about the religion of Lucumi/santeria because I believe it has much to offer. Its music is deeply healing, and the understanding of what the orishas can do for their children in this world is comforting. I am also an "omo añá" (a drummer who is initiated to play for rituals). I have been to Havana five times. I bought this book expecting to learn something about the music and Cuban people. However, I am afraid the title of this book may mislead people into buying it for its information. This book by Katherine J Hagedorn is not a book about the religion. It is a way for her to drop names of musicians she knows and friends of hers--and present her own views of the way these people perceive their religion. I was upset by the book because I am afraid that people may be misled into thinking the book is valuable when in fact it is just about Hagedorn. If you want to know more about this author and her strange ways of incorporating someone else's religion into her academic career, buy this book. If you want to learn about the religion and the Cubans who practice the religion of their ancestors, buy a book by Raul Canizares or Joseph M. Murphy. If you want to know about the music, it is more instructive to buy Robin Moore's book "Nationalizing Blackness"--you will learn more about the history and people without wasting your time with someone trying to impress you with her name-dropping. The publisher should release the CD without the book, because the CD is the only valuable part. The musicians are playing the music with a lot of "bomba" (heart) and it's too bad this author doesn't discuss the music in any context except to talk about herself.
It is hard to express how disappointed I was with Divine Utterances. To reiterate a previous review: lets hope that this is not the future of ethnography. The personal slant to the writing, along with seemingly pointless flowering and embellishing was quite embarassing to read. Hagedorn comes off as being very self-centered. I read this is in a seminar, and unfortunately, all anyone wanted to speak on was the confusing writing style. The content of the book was lost in the presentation. I would not recommend this book to anyone wanting to learn about Santeria or Afro-Cuban culture. I would perhaps recommend it if you are studying folkorization, or performance and wanted a supplementary reference.
Review of"Divine Utterances: The Transformation ofMemory in Afro-Cuban PerformanceThis is an exceptionally well-researched and well-argued monograph. The author examines the complex relationship between the ritual ceremonies, rhythms, and possession performances of the Afro-Cuban SanterÃa religion and the theatrical performance of SanterÃa ceremonies, music, and possession by way of the state sponsored Conjunto Folklorico Nacional and other theatrical troupes..The book is a highly original work in which the authors visit a "busy intersection" where the webs that both unite and separate "authentic" sacred performance and theatrical representations of SanterÃa are dissected against the background of two other dualities: the centuries long dialectic between race relations and Afro-Cuban religious practice in the island, and the seemingly antithetical policy of an officially religion-unfriendly socialist government that relies on the SanterÃa religion as a means to attract capitalist tourist dollars to the island. Hagedorn's book constitutes an in-depth study of the Santeria religion. At the same times it presents an analysis of how two types of performances, one grounded on everyday religious practice, the other a theatrical representation of those religious practices, are connected, disconnected, and mutually inform each other.As the author describes, this situation gives rise to a wide variety of paradoxical occurrences. For example, while one would assume the theatrical, non-sacred, representations of SanterÃa themes would be the locus and focus of tourist interest, it turns out that tourists appear to be just, or even more interested, in watching and participating in genuine, non-theatrical, Santeria rituals. On the other hand, while the theatrical representations are not supposed to be "real," sometimes local Santeria believers in attendance at stylized performances geared to tourists become possessed by the deities of Santeria, much as they might have in a genuine ritual.Distinguishing everyday popular Santeria drumming and dancing from stylized theatrical presentations of it, is not a simple matter. More often than not the musicians, dancers and other participants in the Folklorico shows are themselves leading active believers and musicians of the Santeria religion. Religious practicioners take an active role in the construction of the theatrical presentations which are supposed to be as "real" as possible. In this sense the Cuban Folklorico differs from other similar ensembles (e.g. Mexico's famed Conjunto Folklorico) in which there is little, if any connection between troupe members and traditional practitioners of various cultures represented dances and rituals.One of the most impressive aspects of this book is the way in which the author presents her findings. The manuscript is written in a way that allows the reader to accompany the author in the voyage of discovery. Rather than presenting us with the "data" obtained in painstaking field work, we follow her as the data is obtained, observe her initial situation as an outsider looking in, and are witnesses to her slow becoming of an insider.The book is accompanied by a CD which is very much part of the story. The music in the accompanying CD is compelling and carefully selected to illustrate points made in the text. There are also numerous photographs that cover the main themes, persons, venues and instruments discussed in the manuscript. Each chapter is framed by short personal narratives which the author uses to communicate relevant information about Santeria religious practices and the author's own relation to them. On the whole the manuscript is an impressive production of the highest research as well as literary value, with excellent aural and visual aids.I believe this work will stand out as the most thorough exploration of Santeria music performance, both religious and theatrical, in academic literature. Studies in English do not have either the scope, i.e. brief essays by Duany, Mason and a few others; or the the depth, e.g. the otherwise excellent work by Cornelius, of Hagedorn's book. Her work essentially continues in terms of scope, detail and analytical value the foundational work done in Cuba before l950 by Fernando Ortiz and Rómulo Lachatañeré.
I have to say I bought this book for the CD only. That said, I have to issue two warnings - first, the Lukumi songs recorded to accompany the book are truly Cuban. If anyone listens to them thinking that they are hearing authentic Yoruba they must be cautioned - the pronunciation of the words are Spanish, not Yoruba. That is, the singers pronounce the words as if they were Spanish, without regard to Yoruba phonetics. Of course this is a product of the skewed memory brought on by the Middle Passage more than anything, but it can be confusing in and of itself, for those like myself looking for a quide to authenic Yoruba spiritual songs. What really flummoxes me is that there is no reference to the words/lyrics in the text. What sort of scholarly book about praise songs includes the music to the exclusion of the printed words to same? I mean, really...To help remedy this I bought "Orin Orisa" by John Mason ISBN 1-881244-02-4, which has words, but no music! When will scholars get it together and provide BOTH?I'm enjoying the CD for what it is, but the book? BAH!
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