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Libros, Revistas Y Tesis UNIVERSIDAD CATÓLICA ANDRÉS BELLO FACULTAD DE HUMANIDADES Y EDUCACIÓN ESCUELA DE COMUNICACIÓN SOCIAL MENCIÓN ARTES AUDIOVISUALES TRABAJO DE GRADO CUESTIÓN DE FE Documental Antropológico sobre la Santería en la zona Metropolitana de Caracas Tesistas: Melisa Salas y Tibisay Zea Tutor: Rafael Marziano Caracas, 6 de septiembre de 2007 Agradecimientos AGRADECIMIENTOS A nuestras familias, por todo el apoyo que nos brindaron desde el momento que decidimos escoger el tema, hasta que finalizamos. A nuestro tutor por su guía desinteresada y por acercarnos realmente al género documental. A todos los santeros, babalawos y practicantes de la religión yoruba que participaron en nuestro documental, por su disposición para colaborar y por abrirnos las puertas de su mundo religioso. A todos nuestros entrevistados. A todos aquellos que colaboraron de alguna manera con este trabajo, especialmente a aquellos que hicieron suyas nuestras urgencias. ii Índice General ÍNDICE GENERAL INTRODUCCIÓN …………………………………………………..…….. 1 I. MARCO REFERENCIAL………………………………………….…… 3 1. La religión en la vida del hombre……………………………… 7 1.1. Teorías sociológicas de la religión…………………. 9 1.2. Religiosidad popular en Latinoamérica…………….. 10 2. La santería…………………………………………………....… 11 2.1. ¿Qué es la Santería?.................................................... 11 2.2. Origen y evolución de la santería………………….. 12 2.3. Origen y concepción del mundo.....…………………16 2.4. Jerarquías espirituales ………………………………17 2.4. Concepción del bien y el mal………………………. 24 2.5. La adivinación………………………………………24 2.6. Rituales y ceremonias……………………………….25 2.7. La santería en Venezuela……………………………31 3. El documental antropológico……………………………………35 II. MARCO METODOLÓGICO ………………………………………….37 1. Objetivo general…………………………………………………37 2. Objetivos específicos……………………………………………37 3. Propuesta de documental………………………………………..37 3.1. Ficha técnica…………………………………………37 3.2. Estilo audiovisual…………………………………….38 4. Desglose de producción……………………………………40 4.1. Tomas de rituales y ceremonias……………………..40 4.2. Desglose por entrevistado…………………………...40 iii Índice General 4.3. Material de apoyo……………………………………44 4.4. Desglose de ficción ………………………………….46 5. Plan de rodaje……………………………………………………48 6. Presupuesto………………………………………………………50 6.1. Resumen……………………………………………..50 6.2. Detalles………………………………………………50 7. Análisis de costos………………………………………………..55 7.1. Resumen……………………………………………..55 7.2. Detalles………………………………………………55 8. ¿Cómo se hizo este documental?...................................................59 9. Guión documental……………………………………………….62 III. CONCLUSIONES……………………………………………………….86 IV. RECOMENDACIONES………………………………………….……..90 FUENTES DE INFORMACIÓN……………………………………………92 GLOSARIO DE TÉRMINOS YORUBAS………………………………….95 ÍNDICE DE ANEXOS………………………………………………………98 iv Introducción INTRODUCCIÓN La santería tiene sus raíces en la religión practicada por las tribus Yoruba en Nigeria y se desarrolló en Cuba durante la época de colonización española, como producto del traslado de esclavos desde África hacia América. Desde entonces, ha perdurado en el tiempo y se ha expandido progresivamente hacia otros países americanos, principalmente a raíz de la emigración cubana que sucedió a la revolución comunista en los años sesenta. Al ser transmitida principalmente por tradición oral, la Santería no posee unas bases claramente establecidas y es una religión marcada por un complejo proceso de sincretismo que aún continúa. En el caso de Venezuela, se ha mezclado con otros elementos de la religiosidad popular a medida que se ha difundido, dando lugar a variadas formas de practicarla. Entre ellas las más comunes son la santería cubana y la santería nigeriana o tradicional. A pesar de que la religión católica sigue siendo la más popular en Venezuela, cada vez más personas se vinculan con las prácticas de la santería, y las posibles causas de este fenómeno parecen estar asociadas a crisis sociales o espirituales que provocan en la población la búsqueda de nuevas alternativas religiosas. El énfasis de la santería en la solución de problemas cotidianos, y su gran variedad de dioses especializados en los diferentes aspectos de vida del hombre, la convierten en una opción atractiva para muchos. No obstante, existe un grupo significativo de habitantes de la zona metropolitana de Caracas que, aun admitiendo que no conoce mucho sobre el tema, rechaza abiertamente las prácticas de la santería, relacionándolas casi automáticamente con magia negra, hechicería y brujería. Es decir, existe una gran desinformación e incomprensión de su parte respecto a este tema. Aunque hay autores que se han dedicado al estudio de este fenómeno social desde diferentes puntos de vista, no muchos lo han difundido de forma audiovisual. Por ende, resulta valioso contar con un documento actualizado que permita dejar constancia de esta religión a las generaciones futuras, donde el v Introducción hombre que pertenece a esa comunidad pueda verse reflejado y entender la importancia de mantener su tradición popular y, a la vez, quien no forma parte pueda comprender este fenómeno cultural que forma parte de la realidad social en la que se desenvuelve. Por otra parte, debido al crecimiento del gremio de los santeros en Venezuela en las últimas décadas y por lo tanto de los interesados en el estudio del tema, este documental se convierte en un material de utilidad para un número considerable de personas. Considerando que la santería es un tema complejo acerca del cual hay un campo de estudio muy amplio, proponerse explicar las creencias, orígenes y símbolos de la religión en un documental de menos de media hora sería plantearse un objetivo demasiado ambicioso. Por esta razón, la investigación se limitará a mostrar la forma de vida de un grupo de santeros caraqueños, que serán los protagonistas en el documental, algunas de sus prácticas más comunes, el significado que tiene para ellos y el contraste existente entre el mundo espiritual de los creyentes y las críticas a las que comúnmente están sometidos por algunos sectores de la sociedad. La pequeña experiencia en la realización de documentales y el corto tiempo con el que se contó para realizar un producto audiovisual de esta magnitud, forman parte de las limitaciones de esta investigación. Asimismo, la escasa apertura por parte de los santeros y babalawos hacia las personas no iniciadas en la santería y hacia la presencia de las cámaras en algunos rituales, representaron obstáculos a superar para cumplir los objetivos planteados. Este documental abordará el tema de la santería desde el punto de vista antropológico, es decir, de la relación del hombre con este fenómeno social-religioso. Se seleccionó este tipo de documental ya que permite a los protagonistas del objeto de estudio expresar su visión del mundo y dejar su testimonio. vi Marco referencial I. MARCO REFERENCIAL 1. LA RELIGIÓN EN LA VIDA DEL HOMBRE La religión ha existido en todas las sociedades humanas conocidas y ha moldeado profundamente sus culturas, al constituir una parte central de la experiencia humana relacionada con la idea de trascendencia, que influye notablemente en la manera como percibimos y reaccionamos ante la vida. Angelina Pollack-Eltz (2004:24) señala que la religión “ofrece apoyo, consolación y reconciliación y sacraliza las normas éticas; también tiene funciones proféticas y facilita la integración del individuo en su comunidad”. Tan importante es la religión para los hombres, que su fanatismo ha sido motivo de guerras sangrientas y problemas políticos agudos que aún persisten hasta nuestros días. Existen muchas teorías sobre el origen de la religión en las sociedades más primitivas. Para la Escuela Vienesa de antropología cultural, hubo un solo Dios creador del mundo, creencia que luego se fue modificando con la deificación de los poderes de la naturaleza y de un culto a los antepasados. Para los evolucionistas, la religión primordial era el totemismo o culto a los objetos sacros. Para otros investigadores los sueños humanos eran fuente de creencias religiosas, y para otros más como Mircea Eliade, se derivó del chamanismo o facultad de un individuo para comunicarse con fuerzas sobrenaturales. Éstas son sólo teorías, pues el origen de la religión no se conoce a ciencia cierta y aún sigue siendo objeto de estudio. Las creencias y prácticas religiosas son muy diversas y varían de cultura a cultura, dependiendo de la estructura económica y social base. Así por ejemplo “un individuo nacido en una sociedad australiana de cazadores-recolectores tendrán evidentemente, creencias religiosas diferentes a las de uno nacido en el sistema de castas de la India o en la Iglesia católica de la Europa medieval” (Giddens, 1995: 499). A pesar de estas diferencias, el sociólogo Antony Giddens (1995) reconoce que las religiones tienen ciertos elementos comunes: “implican un conjunto de 7 Marco referencial símbolos, invocan sentimientos de reverencia o respeto, y están vinculadas a rituales o ceremoniales practicados por una comunidad de creyentes. Para este autor, existen ocho religiones principales en el mundo que cumplen con estas características: totemismo, animismo, judaísmo, cristianismo, islamismo, budismo, confucionismo y taoísmo. Según la Enciclopedia Hispánica (1998), todas las religiones incluyen cuatro elementos básicos: creencias, ritos, normas de conducta e instituciones. Las creencias están fundamentadas en los principios de la fe: creer sin ver, y organizan las percepciones del hombre. Tienen una base generalmente de carácter mitológico1. Los ritos representan la operacionalización de
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