Umbanda Spirituality: Recreating Spaces for Inclusion
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Introduction: Introducing Yemoja
1 2 3 4 5 Introduction 6 7 8 Introducing Yemoja 9 10 11 12 Solimar Otero and Toyin Falola 13 14 15 16 17 18 Mother I need 19 mother I need 20 mother I need your blackness now 21 as the august earth needs rain. 22 —Audre Lorde, “From the House of Yemanjá”1 23 24 “Yemayá es Reina Universal porque es el Agua, la salada y la dul- 25 ce, la Mar, la Madre de todo lo creado / Yemayá is the Universal 26 Queen because she is Water, salty and sweet, the Sea, the Mother 27 of all creation.” 28 —Oba Olo Ocha as quoted in Lydia Cabrera’s Yemayá y Ochún.2 29 30 31 In the above quotes, poet Audre Lorde and folklorist Lydia Cabrera 32 write about Yemoja as an eternal mother whose womb, like water, makes 33 life possible. They also relate in their works the shifting and fluid nature 34 of Yemoja and the divinity in her manifestations and in the lives of her 35 devotees. This book, Yemoja: Gender, Sexuality, and Creativity in the 36 Latina/o and Afro-Atlantic Diasporas, takes these words of supplica- 37 tion and praise as an entry point into an in-depth conversation about 38 the international Yoruba water deity Yemoja. Our work brings together 39 the voices of scholars, practitioners, and artists involved with the inter- 40 sectional religious and cultural practices involving Yemoja from Africa, 41 the Caribbean, North America, and South America. Our exploration 42 of Yemoja is unique because we consciously bridge theory, art, and 43 xvii SP_OTE_INT_xvii-xxxii.indd 17 7/9/13 5:13 PM xviii Solimar Otero and Toyin Falola 1 practice to discuss orisa worship3 within communities of color living in 2 postcolonial contexts. -
Umbanda: Africana Or Esoteric? Open Library of Humanities, 6(1): 25, Pp
ARTICLE How to Cite: Engler, S 2020 Umbanda: Africana or Esoteric? Open Library of Humanities, 6(1): 25, pp. 1–36. DOI: https://doi.org/10.16995/olh.469 Published: 30 June 2020 Peer Review: This article has been peer reviewed through the double-blind process of Open Library of Humanities, which is a journal published by the Open Library of Humanities. Copyright: © 2020 The Author(s). This is an open-access article distributed under the terms of the Creative Commons Attribution 4.0 International License (CC-BY 4.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited. See http://creativecommons.org/licenses/by/4.0/. Open Access: Open Library of Humanities is a peer-reviewed open access journal. Digital Preservation: The Open Library of Humanities and all its journals are digitally preserved in the CLOCKSS scholarly archive service. Steven Engler, ‘Umbanda: Africana or Esoteric?’ (2020) 6(1): 25 Open Library of Humanities. DOI: https:// doi.org/10.16995/olh.469 ARTICLE Umbanda: Africana or Esoteric? Steven Engler Mount Royal University, CA [email protected] Umbanda is a dynamic and varied Brazilian spirit-incorporation tradition first recorded in the early twentieth century. This article problematizes the ambiguity of categorizing Umbanda as an ‘Afro-Brazilian’ religion, given the acknowledged centrality of elements of Kardecist Spiritism. It makes a case that Umbanda is best categorized as a hybridizing Brazilian Spiritism. Though most Umbandists belong to groups with strong African influences alongside Kardecist elements, many belong to groups with few or no African elements, reflecting greater Kardecist influence. -
Reglas De Congo: Palo Monte Mayombe) a Book by Lydia Cabrera an English Translation from the Spanish
THE KONGO RULE: THE PALO MONTE MAYOMBE WISDOM SOCIETY (REGLAS DE CONGO: PALO MONTE MAYOMBE) A BOOK BY LYDIA CABRERA AN ENGLISH TRANSLATION FROM THE SPANISH Donato Fhunsu A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English and Comparative Literature (Comparative Literature). Chapel Hill 2016 Approved by: Inger S. B. Brodey Todd Ramón Ochoa Marsha S. Collins Tanya L. Shields Madeline G. Levine © 2016 Donato Fhunsu ALL RIGHTS RESERVED ii ABSTRACT Donato Fhunsu: The Kongo Rule: The Palo Monte Mayombe Wisdom Society (Reglas de Congo: Palo Monte Mayombe) A Book by Lydia Cabrera An English Translation from the Spanish (Under the direction of Inger S. B. Brodey and Todd Ramón Ochoa) This dissertation is a critical analysis and annotated translation, from Spanish into English, of the book Reglas de Congo: Palo Monte Mayombe, by the Cuban anthropologist, artist, and writer Lydia Cabrera (1899-1991). Cabrera’s text is a hybrid ethnographic book of religion, slave narratives (oral history), and folklore (songs, poetry) that she devoted to a group of Afro-Cubans known as “los Congos de Cuba,” descendants of the Africans who were brought to the Caribbean island of Cuba during the trans-Atlantic Ocean African slave trade from the former Kongo Kingdom, which occupied the present-day southwestern part of Congo-Kinshasa, Congo-Brazzaville, Cabinda, and northern Angola. The Kongo Kingdom had formal contact with Christianity through the Kingdom of Portugal as early as the 1490s. -
1 Eshu, Do Not Undo Me, Do Not Falsify the Words of My Mouth, Do Not Misguide the Movements of My Feet, You Who Translates Yeste
Eshu, do not undo me, Do not falsify the words of my mouth, Do not misguide the movements of my feet, You who translates yesterday’s words, Into novel utterances, Do not undo me, I bear you sacrifice. 1 Introduction Thescopeofthisworkistopoint outat thewayhowIshmaelReed,asuccessfulAfro Americanwriter,rewritesthetropeofthetrickster.Threenovelswrittenbyhim werechosen toillustrate howineachofthesehechangesthe roleofthetrickster anduses himfor achievingdifferent purposes.Thethesisofthis workisthat,gradually,inthescope ofthese threenovels,theroleofthetrickster changesandthe powerheisabletoexert,upontheface ofthesocietyinwhichheoperates,rises.Thushiscapabilitytoaffectortrickpeopleisfar greaterinthethirdnovelthanitis inthefirst.Also,hisinterestshaschangedfromcaring solelyforhis personalneeds,asitis presentedinthefirstnovel,toenactingattemptsto positivelychangethewholesocietyof NorthAmerica,asit isdepictedinthethirdbook. Wherethefirstnovelcaptures thetrickster’ssole wishforrevengeandtheseconddescribes thetrickster’selusiveattempttofreetheAfroAmericancommunity,thelast portraitsthe tricksterdoinghis best inordertosavethewholeof NorthAmerica. InYellowBackRadioBroke-Down thetrickster characterhasashismaingoalthe enactmentofhisownpersonalvendettaandhethusfollowsonlythecourseofhisintentions, anddoesn’t takeheedofanyother person’sneeds.InMumboJumbo theroleofthe trickster haschangedandthetrickstercharacter,PapaLaBas,triestofindthetext ofa mysterious plague,calledJesGrew,whichifheweresuccessfulwouldfreetheAfroAmerican communityfromoppressionofthe white -
Robyn Attebury Brazil Unit
Robyn Attebury Brazil Unit: Day 1 “Take a Walk Along the Coast” Objectives: Using the “12 Cultural Keys,” students explore elements of Brazilian culture by investigating it through photos. Students draw on their knowledge of U.S. and world history to understand the distribution of wealth and separation of peoples across the regions. Materials: student copies of “12 Cultural Keys” handout (attached, from David Matthews), Fulbright Group Project Abroad photos of Brazil (by Judy Nelson and Robyn Attebury), world map, map of Brazil, slave trade routes map (produced by UNESCO, attached) Procedure: 1. Warm-up: Students write for 4-5 minutes about what they know about Brazil. Jot down everything and anything they know about Brazil or talk about any personal experiences with this region of the world. 2. Explain rationale for learning about Brazil. Explain Brazil Portfolio project. Keep all materials during this week’s unit on Brazil. Due following Monday for evidence of your discovery of Brazil, and for a grade. 3. Hand out student copies of “12 Cultural Keys.” Look at ABCs of surveying a nation or culture and investigating its people. Lessons this week will fall into “Cultural Keys” categories. 4. Using Brazil map, talk about Brazil’s geographies. Discuss country in terms of agriculture, politics, education, class, race and ethnicity, music, interior and coast. 5. After looking at the slave trade routes map, students discuss placement of Brazilian populations within country. Students should draw on knowledge of U.S. and world history. Is slavery the reason Salvador has the highest African-descended population in the Americas? What keeps the populations where they are? Are there any nomadic populations, and what makes them move? Examine the effects of climate, government, imports and exports, poverty and wealth, and foreign relations (e.g., with the rest of the Americas, Europe, Africa, etc.). -
African Concepts of Energy and Their Manifestations Through Art
AFRICAN CONCEPTS OF ENERGY AND THEIR MANIFESTATIONS THROUGH ART A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts by Renée B. Waite August, 2016 Thesis written by Renée B. Waite B.A., Ohio University, 2012 M.A., Kent State University, 2016 Approved by ____________________________________________________ Fred Smith, Ph.D., Advisor ____________________________________________________ Michael Loderstedt, M.F.A., Interim Director, School of Art ____________________________________________________ John R. Crawford-Spinelli, D.Ed., Dean, College of the Arts TABLE OF CONTENTS LIST OF FIGURES………………………………………….. iv ACKNOWLEDGMENTS …………………………………… vi CHAPTERS I. Introduction ………………………………………………… 1 II. Terms and Art ……………………………………………... 4 III. Myths of Origin …………………………………………. 11 IV. Social Structure …………………………………………. 20 V. Divination Arts …………………………………………... 30 VI. Women as Vessels of Energy …………………………… 42 VII. Conclusion ……………………………………….…...... 56 VIII. Images ………………………………………………… 60 IX. Bibliography …………………………………………….. 84 X. Further Reading ………………………………………….. 86 iii LIST OF FIGURES Figure 1: Porogun Quarter, Ijebu-Ode, Nigeria, 1992, Photograph by John Pemberton III http://africa.si.edu/exhibits/cosmos/models.html. ……………………………………… 60 Figure 2: Yoruba Ifa Divination Tapper (Iroke Ifa) Nigeria; Ivory. 12in, Baltimore Museum of Art http://www.artbma.org/. ……………………………………………… 61 Figure 3.; Yoruba Opon Ifa (Divination Tray), Nigerian; carved wood 3/4 x 12 7/8 x 16 in. Smith College Museum of Art, http://www.smith.edu/artmuseum/. ………………….. 62 Figure 4. Ifa Divination Vessel; Female Caryatid (Agere Ifa); Ivory, wood or coconut shell inlay. Nigeria, Guinea Coast The Metropolitan Museum of Art, http://www.metmuseum.org. ……………………… 63 Figure 5. Beaded Crown of a Yoruba King. Nigerian; L.15 (crown), L.15 (fringe) in. -
O Rei Expansionista Do Tambor De Mina Amazônico Taissa Tavernard De
Dom Manoel (O Venturoso): o rei expansionista do tambor de Mina Amazônico Taissa Tavernard de Luca* Resumo Este trabalho tem por objetivo analisar o panteão da Mina, em Belém do Pará, enfocan- do uma categoria de entidades de alto status, denominada de “senhores de toalha”, ou “nobres gentis nagôs”. Trata-se de reis e nobres europeus que possuem ligação com a história luso-brasileira e que foram “divinizados”. Abordarei a trajetória de Dom Manoel, rei português da dinastia de Avis, responsável pelo processo de expansão marítima e descoberta do Brasil. Recupero parte da história de vida desse personagem na tentativa de entender o processo de divinização do homem público, bem como a construção dos mitos ligados a ele. Procuro apontar valores que estão subjacentes às narrativas míticas, entre os quais destaco o simbolismo da branquidade. Palavras-chave: História; Mito; Religião de Matriz Africana; Tambor de Mina. Dom Manoel (The Fortunate): The Expansionary’s King Of The Afro-Amazonian Religion Abstract This work aims to analyze the pantheon of Mina in Belem, focusing on one category of high-status entities, called “towel lords”, or “noble nagôs kind”. It is kings and European nobles that have connection with the Luso-Brazilian history and were “deified”. Among them, discuss the Dom Manoel trajectory, Portuguese king of Avis, responsible for overseas expansion process and discovery of Brazil. Recover part of the life history of this character in an attempt to understand the deification process of the public official and the construction of the myths attached to it. I try to point values underlying the mythical narratives, among which highlight the symbolism of whiteness. -
Set in the Caribbean-Canadian Community of Toronto, Canada
SERVING THE SPIRITS: THE PAN-CARIBBEAN AFRICAN-DERIVED RELIGION IN NALO HOPKINSON’S BROWN GIRL IN THE RING MONICA COLEMAN Set in the Caribbean-Canadian community of Toronto, Canada, Nalo Hopkinson’s Brown Girl in the Ring reflects the unique ethnic and national identities of the Caribbean diaspora. Both literary scholars and Hopkinson herself note the ways in which Hopkinson uses language to identify both the different national distinctions within the Caribbean immigrant community and the relationship that the Caribbean community has to the larger Canadian society. However, it is through her description of “serving the spirits” that Brown Girl describes a pan-Caribbean identity within the Caribbean diaspora of Toronto. In the concept of “serving the spirits,” Hopkinson draws together various African-derived religious traditions found throughout the Caribbean into one religious practice. By dissolving the boundaries in religious practices, “serving the spirits” functions as the basis for a unique pan- Caribbean identity for the characters of Brown Girl. Brown Girl in the Ring is set in the future decaying inner city left when Toronto’s economic base collapses. The city center is inhabited only by the formerly homeless and poor, now squatters, and is ruled by drug lord Rudy and his posse. The protagonist, a young Caribbean-Canadian female named Ti-Jeanne, lives with her grandmother, who runs a business in herbal medicine that has become vital to the disenfranchised of the Burn. Ti-Jeanne’s grandmother, Mami Gros-Jeanne, is a faithful follower of the spirits. Ti-Jeanne, on the other hand, believes that the herbal medicine and African-derived spirituality of her grandmother should have no role in the lives of sane and practical people. -
From Africa to America
Afro-Caribbean From Africa to America From Africa to America Summary: During the brutality of the slave trade, many enslaved Africans brought their religious traditions to the United States and the Caribbean. These traditions were maintained in subtle ways in the United States, most notably in the Christianity of black Americans. Over the next two centuries, black Americans have explored their connection to African heritage and religions. Most Africans bound for the plantations, mines, and workshops of the New World embarked on their involuntary journey from the coast of western Africa that runs between present-day Senegal and Angola. Among the approximately ten million who reached the Americas, there were a few Christians and many more Muslims; but the vast majority observed traditional African religions, carrying their complex legacy to the New World. Today that legacy is part of the religious landscape of the United States. Though always subtly visible in the Christianity of black North Americans, it is vibrantly apparent in the religious traditions that were brought to the United States by Caribbean immigrants in the late 20th century, including Cuban Santería, Haitian Vodou, Jamaican Revivalism, and Rastafarianism. The presence of these Afro-Caribbean traditions in the U.S. has contributed to new forms of African- influenced religious life among African Americans. The African religious traditions that came to the Americas through African captives share a range of qualities. All acknowledge a supreme God, sometimes described as a “high God,” but emphasize the primacy of multiple spirit beings—called “orisha” in Yoruba—in daily life. In reciprocal relationships with these gods, people enjoy successes, celebrate rites of passage, and cope with misfortune, illness, and grief. -
PORTRAIT of a VODUN LEADER in PRESENT-DAY BENIN Emmanuelle Kadya Tall
ON REPRESENTATION AND POWER: PORTRAIT OF A VODUN LEADER IN PRESENT-DAY BENIN Emmanuelle Kadya Tall To cite this version: Emmanuelle Kadya Tall. ON REPRESENTATION AND POWER: PORTRAIT OF A VODUN LEADER IN PRESENT-DAY BENIN. Africa, Cambridge University Press (CUP), 2014, 84 (2), pp.246-268. 10.1017/S0001972013000764. hal-01435644 HAL Id: hal-01435644 https://hal.archives-ouvertes.fr/hal-01435644 Submitted on 19 Jan 2017 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. On Representation and Power: Portrait of a vodun leader in present-day Benin* Emmanuelle Kadya TALL1 Following the 1990 National Conference, in February 1993, a Vodun Art and Culture Festival was organised under the aegis of Nicephore Soglo, the first elected president of the Benin republic after the reinstatement of democracy. Labelled Ouidah 92, this festival was initially to be held in 1992 in the former slave trade post, but had to be postponed until February 1993 because of delays in the preparatory work. The main aim of this festival was to replace the painful memory of the slave trade for the descendants of slaves in the New World, by a transnational dialogue revolving around a shared vodun culture. -
Different Ways of Practicing Afro-Brazilian Religions in a Transnational Context: Germany
Studia Religiologica 51 (3) 2018, s. 149–163 doi:10.4467/20844077SR.18.011.10095 www.ejournals.eu/Studia-Religiologica Different Ways of Practicing Afro-Brazilian Religions in a Transnational Context: Germany Joana Bahia https://orcid.org/0000–0002–2172–5022 Department of Human Sciences State University of Rio de Janeiro [email protected] Abstract In this text, I study Afro-Brazilian religions (Candomblé and Umbanda) and the ways these adapt themselves culturally in the German context, producing hybridisms and reviving European pagan practices. In the first section of the text, I present how pais and mães de santo circulate through the artistic field, creating opportunities for them to construct ritual spaces in which religious practices are conducted and future adepts are recruited. I then analyse cases in which pais de santo do not participate in this artistic field, or even have their own terreiros or initiate filhos de santo. Finally, I consider ritual adaptations and the ways of relating to the economic and spiritual necessities of potential clients. In these cases, Afro-Brazilian religions end up being in close proximity to New Age practices currently common in European cultures. Keywords: Afro-Brazilian religions transnationalization, African diaspora, hybridism, Europe Słowa kluczowe: afro-brazylijskie religie, transnacjonalizacja, afrykańska diaspora, hybrydyzm, Europa Introduction The first part of the present article analyzes Afro-Brazilian religions (Candomblé and Umbanda);1 the ways they culturally adapt in German contexts, producing 1 I approach Candomblé in this article as the religion of the orishas (African gods) – in short, the religion constituted in the nineteenth century in the Brazilian state Bahia, drawing upon the Yoruba tradi- tion. -
The Yoruba Trickster God Author(S): John Pemberton Source: African Arts, Vol
Regents of the University of California Eshu-Elegba: The Yoruba Trickster God Author(s): John Pemberton Source: African Arts, Vol. 9, No. 1 (Oct., 1975), pp. 20-27+66-70+90-92 Published by: UCLA James S. Coleman African Studies Center Stable URL: http://www.jstor.org/stable/3334976 Accessed: 27-10-2016 14:24 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Regents of the University of California, UCLA James S. Coleman African Studies Center are collaborating with JSTOR to digitize, preserve and extend access to African Arts This content downloaded from 141.213.142.215 on Thu, 27 Oct 2016 14:24:20 UTC All use subject to http://about.jstor.org/terms Eshu-Elegba: TheYoruba Trickster God saying cited by Fadipe that "every head of mound of cement about two feet high A t the entrance of almost every com- pound in the Yoruba town of Ila- a compound must have an Eshu outside painted with vertical red stripes. A chunk Orangun, a chunk of red laterite rock his compound and the baale who does not of laterite rock is embedded in the top. It (yangi) protrudes from a hollow in the will have to give account to Eshu" (1970: is the palace shrine for Eshu to which of- base of the wall on the right side of the 285-6).