By Birgit Meyer
The important subject of this quantity is the incorporation of newly available mass media into practices of non secular mediation in numerous settings, together with Pentecostal-charismatic church buildings and Islamic routine, and using spiritual varieties and pictures within the sphere of radio and cinema. in keeping with a long term cooperation, the members research the position of faith and media within the emergence and sustenance of recent ‘aesthetic formations’ that attract the physique and the senses, and generate new types of binding and moods of belonging in our time.
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Extra resources for Aesthetic Formations: Media, Religion, and the Senses (Religion Culture Critique)
But I tell you, those ways are dangerous, leading into true labyrinths, and with dire results. I therefore advise the visitors and friends of the Axé:3 don’t ask questions, just observe! ” 35 Mãe Stella’s proud assertion that her religion is so “strong” and “mysterious” as to garner the attention of outsiders signals the assertiveness of some members of the Bahian priesthood. The opening scene to this chapter illustrates that there are grounds for her pride: from a forbidden and persecuted religious practice of African slaves and their descendants, Candomblé has become a highly prestigious and well-respected religion, which ranks as the prime cultural heritage of the Bahian state, and attracts ever more variegated audiences (cf.
Seeking to appreciate cultural particularities and yet to yield generalizable analyses, the program proposal made a plea for detailed historical Introduction 2. 3. 4. 5. 6. 25 and ethnographic exploration in the framework of a comparative perspective. nl/media-religion. Next to a host of articles authored by the program participants, the program also yielded five dissertations: Guadeloupe 2006a, published in 2008; Oosterbaan 2006; de Witte 2008; Hoek 2008; and de Abreu 2009, as well as four publications derived from conferences we organized (Meyer and Moors 2006a; Hughes and Meyer 2005; Meyer 2008b; Hirschkind and Larkin 2008).
With historical records that go back to the first half of the nineteenth century; with a highly prestigious clientele of artists, intellectuals, media celebrities, and local politicians; and with the “certificates” of purity and authenticity conferred by generations of anthropologists who have studied them, the Nagô-Ketu terreiros have managed to acquire so much prestige and status that their particular understanding of the “religion of the orixás” is highly influential among the more peripheral terreiros in Salvador.
Aesthetic Formations: Media, Religion, and the Senses (Religion Culture Critique) by Birgit Meyer