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In Divine Utterances, Katherine J. Hagedorn explores the enduring cultural and spiritual power of the music of Afro-Cuban Santería and the process by which it has been transformed for a secular audience. She focuses on the integral connections between sacred music performances and the dramatizations of theatrical troupes, especially the state-sponsored Conjunto Folklórico Nacional de Cuba, and examines the complex relationships involving race, politics, and religion in Cuba. The music that Hagedorn describes is rooted in Afro-Cuban religious tradition and today pervades a secular performances that can produce a trance in audience members in the same way as a traditional religious ceremony.
Hagedorn's analysis is deeply informed by her experiences in Cuba as a woman, scholar, and apprentice batá drummer. She argues that constructions of race and gender, the politics of pre- and post-Revolutionary Cuba, the economics of tourism, and contemporary practices within Santería have contributed to a blurring of boundaries betwen the sacred and the folkloric. As both modes now vie for primacy in Cuba's burgeoning tourist trade, what had once been the music of a marginalized group is now a cultural expression of national pride.
The compact disc that accompanies the book includes examples of twenty songs to the orichas, or Afro-Cuban deities, performed by prominent musicians, including Lázaro Ros, Francisco Aguabella, Alberto Villarreal, and Zenaida Armenteros.
|List of Figures|
|List of Recorded Tracks|
|1||Notes on Fieldwork: Dreaming Ogun||17|
|2||El Espectaculo: Invitation to the Dance||44|
|3||Embodying the Sacred in Afro-Cuban Performance: Negotiating the Rules of Engagement||73|
|4||Blurring the Boundaries: Merging Sacred and Profane||107|
|5||The Birth of the Conjunto Folklorico||136|
|6||Sacred Crimes: Criminalizing the Sacred in Historical Perspective||173|
|7||Resolver and Religious Tourism in Cuba||203|