8 of 10 people found the following review helpful:
5.0 out of 5 stars
Ritual, Rhythm, and Tradition in Cuban Santeria, September 11, 2002
This review is from: Divine Utterances: The Performance of Afro-Cuban Santeria (Paperback)
Review of
"Divine Utterances: The Transformation of
Memory in Afro-Cuban Performance
This is an exceptionally well-researched and well-argued monograph. The author examines the complex relationship between the ritual ceremonies, rhythms, and possession performances of the Afro-Cuban Santería religion and the theatrical performance of Santería ceremonies, music, and possession by way of the state sponsored Conjunto Folklorico Nacional and other theatrical troupes.
.
The book is a highly original work in which the authors visit a "busy intersection" where the webs that both unite and separate "authentic" sacred performance and theatrical representations of Santería are dissected against the background of two other dualities: the centuries long dialectic between race relations and Afro-Cuban religious practice in the island, and the seemingly antithetical policy of an officially religion-unfriendly socialist government that relies on the Santería religion as a means to attract capitalist tourist dollars to the island. Hagedorn's book constitutes an in-depth study of the Santeria religion. At the same times it presents an analysis of how two types of performances, one grounded on everyday religious practice, the other a theatrical representation of those religious practices, are connected, disconnected, and mutually inform each other.
As the author describes, this situation gives rise to a wide variety of paradoxical occurrences. For example, while one would assume the theatrical, non-sacred, representations of Santería themes would be the locus and focus of tourist interest, it turns out that tourists appear to be just, or even more interested, in watching and participating in genuine, non-theatrical, Santeria rituals. On the other hand, while the theatrical representations are not supposed to be "real," sometimes local Santeria believers in attendance at stylized performances geared to tourists become possessed by the deities of Santeria, much as they might have in a genuine ritual.
Distinguishing everyday popular Santeria drumming and dancing from stylized theatrical presentations of it, is not a simple matter. More often than not the musicians, dancers and other participants in the Folklorico shows are themselves leading active believers and musicians of the Santeria religion. Religious practicioners take an active role in the construction of the theatrical presentations which are supposed to be as "real" as possible. In this sense the Cuban Folklorico differs from other similar ensembles (e.g. Mexico's famed Conjunto Folklorico) in which there is little, if any connection between troupe members and traditional practitioners of various cultures represented dances and rituals.
One of the most impressive aspects of this book is the way in which the author presents her findings. The manuscript is written in a way that allows the reader to accompany the author in the voyage of discovery. Rather than presenting us with the "data" obtained in painstaking field work, we follow her as the data is obtained, observe her initial situation as an outsider looking in, and are witnesses to her slow becoming of an insider.
The book is accompanied by a CD which is very much part of the story. The music in the accompanying CD is compelling and carefully selected to illustrate points made in the text. There are also numerous photographs that cover the main themes, persons, venues and instruments discussed in the manuscript. Each chapter is framed by short personal narratives which the author uses to communicate relevant information about Santeria religious practices and the author's own relation to them. On the whole the manuscript is an impressive production of the highest research as well as literary value, with excellent aural and visual aids.
I believe this work will stand out as the most thorough exploration of Santeria music performance, both religious and theatrical, in academic literature. Studies in English do not have either the scope, i.e. brief essays by Duany, Mason and a few others; or the the depth, e.g. the otherwise excellent work by Cornelius, of Hagedorn's book. Her work essentially continues in terms of scope, detail and analytical value the foundational work done in Cuba before l950 by Fernando Ortiz and Rómulo Lachatañeré.
Help other customers find the most helpful reviews
Was this review helpful to you? Yes
No
7 of 9 people found the following review helpful:
1.0 out of 5 stars
Not superb, September 12, 2002
By A Customer
This review is from: Divine Utterances: The Performance of Afro-Cuban Santeria (Paperback)
I'm sorry to say that I bought this book after reading that it was supposed to be "superb." Instead, I was disappointed in the lack of depth in discussing the political situation between the religious contexts and their staged touristic performances. The issue of race is very gently treated--as if blackness, authentic Afro-Cuban practice and performance is not a serious issue in religious presentations. I felt that there was a mediocre of discussion of the all-important US dollar as a motivating source for the often incomplete and inaccurate renditions of Afro-Cuban religious ceremonies to which tourists have access.
Tourism is a widely studied topic right now, for example, Kirschenblatt-Gimblett has done amazing work on the topic of museums and tourism, and this book doesn't convince me that the author has read or understands the deeply intersecting areas of economy/tourism/voyeurism/performance studies/cultural theory and race.
Instead, I can recommend Robin Moore's book on the history of blackness and the political struggles involved in race relations and feel that Moore's book, although it sidesteps religion and the production of religion in Cuba, also gives a badly-needed history of the racism and production of black culture in Cuba from the US occupation until the present day embargo. This book by Hagedorn, while being personally reflective, doesn't problematize race or the economics of these musicians in a way that highlights the history of race relations/blackness or the present political situation.
The book Afro-Cuban Voices also I would recommend as "superb," as it is a compilation of actual interviews with Cubans who struggle to define their race inside the present socialist society and in light of the revolution and US cultural imperialism.
I'm sorry to see that the scholarship of music in Cuba is so superficially related to the actual everyday struggles of the people. There is so much good work now being done on tourism (especially in South Asian contexts) that to disregard these authors and their contributions is a disservice to the study of Caribbean contexts and tourism.
Help other customers find the most helpful reviews
Was this review helpful to you? Yes
No
7 of 10 people found the following review helpful:
1.0 out of 5 stars
Extremely disappointing, June 6, 2003
This review is from: Divine Utterances: The Performance of Afro-Cuban Santeria (Paperback)
It is hard to express how disappointed I was with Divine Utterances. To reiterate a previous review: lets hope that this is not the future of ethnography. The personal slant to the writing, along with seemingly pointless flowering and embellishing was quite embarassing to read. Hagedorn comes off as being very self-centered. I read this is in a seminar, and unfortunately, all anyone wanted to speak on was the confusing writing style. The content of the book was lost in the presentation. I would not recommend this book to anyone wanting to learn about Santeria or Afro-Cuban culture. I would perhaps recommend it if you are studying folkorization, or performance and wanted a supplementary reference.
Help other customers find the most helpful reviews
Was this review helpful to you? Yes
No
