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Honey at the crossroads: Four women...

Juncker, Kristine.

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Honey at the crossroads: Four women and Afro-Cuban ritual arts, 1899--1969.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Honey at the crossroads: Four women and Afro-Cuban ritual arts, 1899--1969./
作者:	Juncker, Kristine.
面頁冊數:	340 p.
附註:	Adviser: Zoe S. Strother.
Contained By:	Dissertation Abstracts International67-10A.
標題:	Art History. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3237252
ISBN:	9780542916427

Honey at the crossroads: Four women and Afro-Cuban ritual arts, 1899--1969.
Juncker, Kristine.

Honey at the crossroads: Four women and Afro-Cuban ritual arts, 1899--1969. - 340 p.

Adviser: Zoe S. Strother.

Thesis (Ph.D.)--Columbia University, 2006.

This dissertation examines the emergence of a modern and innovative Afro-Cuban religious arts movement, 1899-1969, known for dramatic household installations of sculpture, photographs and painted portraits. Case studies analyze the artworks of women, drawn from a single religious family over four consecutive generations. Although scholarship usually describes each Afro-Caribbean religion as an exclusive organization, this dissertation emphasizes that these women all held dual roles and worked as mediums in Espiritismo and also as santeras, or priests, of Santeria. I argue that, through the creation of art for more than one religion, these leaders promoted critical dialogue essential for the explosion of the Afro-Cuban ritual arts movement internationally.

ISBN: 9780542916427Subjects--Topical Terms:

635474
Art History.

Honey at the crossroads: Four women and Afro-Cuban ritual arts, 1899--1969.
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520 $a This dissertation examines the emergence of a modern and innovative Afro-Cuban religious arts movement, 1899-1969, known for dramatic household installations of sculpture, photographs and painted portraits. Case studies analyze the artworks of women, drawn from a single religious family over four consecutive generations. Although scholarship usually describes each Afro-Caribbean religion as an exclusive organization, this dissertation emphasizes that these women all held dual roles and worked as mediums in Espiritismo and also as santeras, or priests, of Santeria. I argue that, through the creation of art for more than one religion, these leaders promoted critical dialogue essential for the explosion of the Afro-Cuban ritual arts movement internationally.
520 $a In the 1900s, the converging interests of international scholars, rising revolutionary politicians and Black Cubans motivated a search for African cultural origins that caused disregard for women's roles in Afro-Cuban ritual arts. However, by-laws belonging to one prominent religious society in Havana from 1899 demonstrate that women were responsible for public altars. Close examination of one woman's household-temple provides a perspective on the 'nested spaces' that connect and separate different practices. One altar cannot be wholly isolated from another especially if one is to understand the relationship of Espiritismo to Santeria.
520 $a Spectacular Espiritismo altars have had a lasting influence on Afro-Caribbean religious arts. Photographic documentation from the 1940s and 1950s permits insight into the dramatic increase in scale and sumptuous effects of altar display in both Cuba and the U.S. Furthermore, Spanish Harlem installations, from 1950-1970, address Caribbean women's history. By depicting women past and present as spiritual leaders they provide evidence that counters popular history and sets important examples for the multi-ethnic communities struggling for survival in New York.
520 $a Although most Afro-Caribbean ritual arts are intended to decay or be destroyed, the next generation may inherit works from Espiritismo practices that honor the dead. This visual celebration of diverse ancestors acknowledges the influence of the past while allowing for a focus on the present in Santeria ritual arts.
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