Afro-Cuban Religious Arts: Popular Expressions of Cultural Inheritance in Espiritismo and Santería by Kristine Juncker Gainesville: University Press of Florida, 2014. 208 pp., 28 color ill., 20 b/w. $74.95, cloth.

Abstract

March 01 2017 Afro-Cuban Religious Arts: Popular Expressions of Cultural Inheritance in Espiritismo and Santería Afro-Cuban Religious Arts: Popular Expressions of Cultural Inheritance in Espiritismo and Santería by KristineJunckerGainesville: University Press of Florida, 2014. 208 pp., 28 color ill., 20 b/w. $74.95, cloth. Author and Article Information Online Issn: 1937-2108 Print Issn: 0001-9933 © 2017 by the Regents of the University of California.2017 African Arts (2017) 50 (1): 93–94. https://doi.org/10.1162/AFAR_r_00338 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn MailTo Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Search Site Citation Afro-Cuban Religious Arts: Popular Expressions of Cultural Inheritance in Espiritismo and Santería. African Arts 2017; 50 (1): 93–94. doi: https://doi.org/10.1162/AFAR_r_00338 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentAll JournalsAfrican Arts Search Advanced Search In the cultural milieu of 1950s and ‘60s Spanish Harlem, Carmen Oramas Caballery was celebrated as one of its most influential Afro-Caribbean religious leaders. Attendees of her spiritual performances recall sensational experiences, detailing the poignantly overwhelming auditory and visual elements she incorporated into these nonspecific religious ceremonies. Even into the early twenty-first century, just before Carmen's illness forced her to retire, she employed a set of well-established syncretic devices to stimulate her heterogeneous viewership. Kristine Juncker, who was present at one of her final performances, details how drummers accompanied the mellifluous tones of Carmen's singing while droplets of water rained down on a dancing audience of both adults and children. She notes that the performance was “not likely to be forgotten by those who were present” (p. 128). Carmen's elaborate presentation welding the visual and participatory situates the sensational sublime that Afro-Cuban, and more broadly Afro-Caribbean, religious practices invoke to... You do not currently have access to this content.