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Juli Born in the context of religion-politics during the European Reformation, and instrumental for the colonisation of the Americas, the concept of syncretism reappeared in the study of religion and culture in the late 19th century. But what if we stick with religion, and specifically Catholicism, as historical horizon permeating lived experience today, particularly in the Americas? In this refusal to abandon religious terminology, what concept of syncretism do we need for the study of culture? I want to draft five theses to advance an understanding of syncretism not as fusion, but as layering of experience through centuries marked by colonisation, diaspora, and resistance across the hemisphere. The craft of re- drafting a concept is necessary if we want to do justice to processes of both imposition and survival, or the loss and transmission of saberes stemming from Indigenous and Afro-diasporic peoples, among others. Saberes means knowledge that is experienced, passed on through means of transmission, not transference. Craft is a labour involving knowledge, skill, and a sheer amount of experience. The Alasitas market had taken over the street, on my left and right were stands with miniatures of houses, cars, university diplomas, construction carts, dollars and Peruvian soles , but also figurines and sculptures of toads, armadillos, dwarfs associated with St. I had already bought everything I needed: apartment houses, baby socks and construction carts for my siblings, parents, my partner and friends. Now I let myself be guided solely by the movement of people. The street was packed, we could barely move forward between the market stands and arcade games, intuitively forming lines that would stick together for a while before dissolving again. Music from different bands rumbled in the background, juxtaposed, their instruments amplified in the dance halls close to the shore, at the end of the avenue. We smelled the smoke from the food carts, in my mouth I still had a taste of coca leaves. It felt like we were being blessed through physical contact, forming a procession in which the individual merges into a collective, moving body. Of course, it was packed that Friday in Puno. It was 3 May, the main day of the Alasitas or Illas celebration, and of the celebration of the Crosses — three names for a complex set of practices gathering the entire city in the Buenavista neighbourhood every May since the s at least. These practices have survived over centuries, adapting to the changing conditions and needs of Andean peoples, and under the imposition of Catholic religious praxis, morals, and temporality, for instance through the liturgic calendar. As an early measure of imposition, the colonial administration installed crosses on top of the stoney mountains surrounding the city, identifying them as places for worship to be redirected toward Catholicism. Such layering differs from the idea of fusion because unlike fusion, layers touch but do not dissolve into one. Religions, on the one hand, are imagined as flowing, following a natural course, and on the other, as encompassing the sedimentation of religious experiences. The next morning, in an attempt to visit one of the crosses on the Azoguini hill protecting the city, I came across a gigantic mask made of solid cardboard, its bulging eyes installed on painted car wheels. With blue eyes, thick lips, messy hair and beard, a hat and a tobacco pipe, an almost hallucinatory expression greeted my way up a couple of steps away from a small Catholic sanctuary. The famous pilgrimage to Azoguini takes place on Holy Friday, but the mask here speaks of a different presence and time, and another date from the liturgy: Candlemas or Candelaria. Dancers dress in colourful, luminous dresses and masks, prohibited or limited not only during the colony, but up until the early 20th century, and accused ofindecency and immorality. Masks such as the one I encountered became popular in the 20th century in Puno. They pertain to the morenada , the main dance in Candelaria. Somewhat translatable to Browns, morenos dance to an aesthetic that evokes slavery, testifying to the presence of African slaves in the Andes. The sound of matracas or rattles emulates the movement of slaves in chains following a cyclic rhythm that intensifies the sense of an arduous path. They strengthen the common belief that Blacks were incapable of surviving the heights and cold of the Andes, conditions responsible for their massive death during mining, and the reason for their later mobilisation to plantation work in the lowlands. However, they did work in the mines between the 16th and 18th century, in great numbers. Their historical presence contrasts with the invisibility of Afro-Peruvian dancers and musicians in the Andes today, evoked solely as suffering slaves from the past in the costumes and masks. Their massive population decrease in the 19th century is often poorly explained as a process of migration or dissolution into mestizaje , ignoring socio-political factors like the strong mobilisation of Blacks during the independence wars, and the absence of social structures for survival after slavery was abolished in The difficulty of encountering archival history poses a challenge for descendants of African slaves throughout the continent. The church was located in the heart of the Floral avenue, and when I arrived the mass had already started. I had to stay with a crowd outside, a crowd that grew bigger and bigger towards the end of the never-ending sermon. Some people had carefully wrapped their alasitas in Andean textiles or aguayos , others brought them in plastic bags, like me. We carried them in our arms like babies, making them participants of the mass. Some of us cued in front of the small chapel on the right side of the church, waiting our turn to burn candles for them. During mass, they were the ones listening — not us, really, becoming illas or spirits through that very act. Our carrying of them, their blessing by the vendors and later the priest, and their guarding of our wishes is what brought them to life. Relationality builds the condition for spiritual presence-making; for becoming alive as a spirit. And in this case, presence-making takes place in a Catholic space and register. Understood as the juxtaposition or adding of religion, and as the layering of religious experience, syncretism is marked by violent imposition. At the same time, it gives way to practices of excavation in search for past sediments. These practices commit to the survival of saberes through time. They do not pretend to fully know, but to evoke the past in the present. Saberes — knowledge that is experienced, are passed on through relationality and presence-making, led by the will to become subject to, and a subject of, transmission. Brah, Avtar, and Annie E. London, New York: Routledge, De la Cadena, Marisol. Earth Beings. Ecologies of Practice across Andean Worlds. Durham: Duke University Press, Gilroy, Paul. The Black Atlantic. Modernity and Double Consciousness. Cambridge: Harvard University Press, Hartman, Saidiya. Lose Your Mother. New York: Farrar, Straus and Giroux, La Serna Salcedo, Juan Carlos. Dioses y Mercados de la Fortuna. Lima: Ministerio de Cultura, London: Equinox Publishing, Palacios, Rita M. Agencia Peruana de Noticias, Accessed July 11, Obra Maestra. Danzas del Carnaval de Oruro. Oruro: Latinas Editores, Lenguaje de la Espiritualidad Andina. Puno: Jupiter Impresores, Schmidt, Bettina E. Shaw, Rosalind, and Charles Stewart. Problematizing Syncretism. Transregional Academy on Latin American Art Lima, May , and especially my group, for listening attentively and commenting the first ideas for this text. A Reader, ed. The Politics of Religious Synthesis, ed. Politics, Science, Culture, ed. Avtar Brah and Annie E. Coombes London, New York: Routledge, Palacios and Paul M. University of Arizona Press, , The authors do address human intervention and agency when dealing with the rivers-metaphor. His dissertation deals with art practices from post-war Guatemala, and his publications include questions of materiality, topography, Indigeneity, and violence. Abgerufen am The Berlin-based Forum Transregionale Studien promotes the internationalization of research in the humanities and social sciences. It provides scope for collaboration among researchers with different regional and disciplinary perspectives and appoints researchers from all over the world as Fellows. Mai August Dezember November Diese Website verwendet Akismet, um Spam zu reduzieren. TRAFO — Blog for Transregional Research is a platform for scholars in the humanities and social sciences who are interested in transregional exchange and research on current issues. You will be redirected to OpenEdition Search. In all OpenEdition. Zum Inhalt springen Issues. Syncretism is experienced On a Friday evening last May, I was walking one last time through the Floral avenue in Puno, a city in the Southern Andes of Peru, on the shore of the Titicaca lake. Mask from the morenada dance on the Azoguini hill. Alasitas wrapped in aguayos listening to the mass, Alasitas Celebration. Blessing of alasitas with holy water, Alasitas Celebration.

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Buying coke Golte

Juli Born in the context of religion-politics during the European Reformation, and instrumental for the colonisation of the Americas, the concept of syncretism reappeared in the study of religion and culture in the late 19th century. But what if we stick with religion, and specifically Catholicism, as historical horizon permeating lived experience today, particularly in the Americas? In this refusal to abandon religious terminology, what concept of syncretism do we need for the study of culture? I want to draft five theses to advance an understanding of syncretism not as fusion, but as layering of experience through centuries marked by colonisation, diaspora, and resistance across the hemisphere. The craft of re- drafting a concept is necessary if we want to do justice to processes of both imposition and survival, or the loss and transmission of saberes stemming from Indigenous and Afro-diasporic peoples, among others. Saberes means knowledge that is experienced, passed on through means of transmission, not transference. Craft is a labour involving knowledge, skill, and a sheer amount of experience. The Alasitas market had taken over the street, on my left and right were stands with miniatures of houses, cars, university diplomas, construction carts, dollars and Peruvian soles , but also figurines and sculptures of toads, armadillos, dwarfs associated with St. I had already bought everything I needed: apartment houses, baby socks and construction carts for my siblings, parents, my partner and friends. Now I let myself be guided solely by the movement of people. The street was packed, we could barely move forward between the market stands and arcade games, intuitively forming lines that would stick together for a while before dissolving again. Music from different bands rumbled in the background, juxtaposed, their instruments amplified in the dance halls close to the shore, at the end of the avenue. We smelled the smoke from the food carts, in my mouth I still had a taste of coca leaves. It felt like we were being blessed through physical contact, forming a procession in which the individual merges into a collective, moving body. Of course, it was packed that Friday in Puno. It was 3 May, the main day of the Alasitas or Illas celebration, and of the celebration of the Crosses — three names for a complex set of practices gathering the entire city in the Buenavista neighbourhood every May since the s at least. These practices have survived over centuries, adapting to the changing conditions and needs of Andean peoples, and under the imposition of Catholic religious praxis, morals, and temporality, for instance through the liturgic calendar. As an early measure of imposition, the colonial administration installed crosses on top of the stoney mountains surrounding the city, identifying them as places for worship to be redirected toward Catholicism. Such layering differs from the idea of fusion because unlike fusion, layers touch but do not dissolve into one. Religions, on the one hand, are imagined as flowing, following a natural course, and on the other, as encompassing the sedimentation of religious experiences. The next morning, in an attempt to visit one of the crosses on the Azoguini hill protecting the city, I came across a gigantic mask made of solid cardboard, its bulging eyes installed on painted car wheels. With blue eyes, thick lips, messy hair and beard, a hat and a tobacco pipe, an almost hallucinatory expression greeted my way up a couple of steps away from a small Catholic sanctuary. The famous pilgrimage to Azoguini takes place on Holy Friday, but the mask here speaks of a different presence and time, and another date from the liturgy: Candlemas or Candelaria. Dancers dress in colourful, luminous dresses and masks, prohibited or limited not only during the colony, but up until the early 20th century, and accused ofindecency and immorality. Masks such as the one I encountered became popular in the 20th century in Puno. They pertain to the morenada , the main dance in Candelaria. Somewhat translatable to Browns, morenos dance to an aesthetic that evokes slavery, testifying to the presence of African slaves in the Andes. The sound of matracas or rattles emulates the movement of slaves in chains following a cyclic rhythm that intensifies the sense of an arduous path. They strengthen the common belief that Blacks were incapable of surviving the heights and cold of the Andes, conditions responsible for their massive death during mining, and the reason for their later mobilisation to plantation work in the lowlands. However, they did work in the mines between the 16th and 18th century, in great numbers. Their historical presence contrasts with the invisibility of Afro-Peruvian dancers and musicians in the Andes today, evoked solely as suffering slaves from the past in the costumes and masks. Their massive population decrease in the 19th century is often poorly explained as a process of migration or dissolution into mestizaje , ignoring socio-political factors like the strong mobilisation of Blacks during the independence wars, and the absence of social structures for survival after slavery was abolished in The difficulty of encountering archival history poses a challenge for descendants of African slaves throughout the continent. The church was located in the heart of the Floral avenue, and when I arrived the mass had already started. I had to stay with a crowd outside, a crowd that grew bigger and bigger towards the end of the never-ending sermon. Some people had carefully wrapped their alasitas in Andean textiles or aguayos , others brought them in plastic bags, like me. We carried them in our arms like babies, making them participants of the mass. Some of us cued in front of the small chapel on the right side of the church, waiting our turn to burn candles for them. During mass, they were the ones listening — not us, really, becoming illas or spirits through that very act. Our carrying of them, their blessing by the vendors and later the priest, and their guarding of our wishes is what brought them to life. Relationality builds the condition for spiritual presence-making; for becoming alive as a spirit. And in this case, presence-making takes place in a Catholic space and register. Understood as the juxtaposition or adding of religion, and as the layering of religious experience, syncretism is marked by violent imposition. At the same time, it gives way to practices of excavation in search for past sediments. These practices commit to the survival of saberes through time. They do not pretend to fully know, but to evoke the past in the present. Saberes — knowledge that is experienced, are passed on through relationality and presence-making, led by the will to become subject to, and a subject of, transmission. Brah, Avtar, and Annie E. London, New York: Routledge, De la Cadena, Marisol. Earth Beings. Ecologies of Practice across Andean Worlds. Durham: Duke University Press, Gilroy, Paul. The Black Atlantic. Modernity and Double Consciousness. Cambridge: Harvard University Press, Hartman, Saidiya. Lose Your Mother. New York: Farrar, Straus and Giroux, La Serna Salcedo, Juan Carlos. Dioses y Mercados de la Fortuna. Lima: Ministerio de Cultura, London: Equinox Publishing, Palacios, Rita M. Agencia Peruana de Noticias, Accessed July 11, Obra Maestra. Danzas del Carnaval de Oruro. Oruro: Latinas Editores, Lenguaje de la Espiritualidad Andina. Puno: Jupiter Impresores, Schmidt, Bettina E. Shaw, Rosalind, and Charles Stewart. Problematizing Syncretism. Transregional Academy on Latin American Art Lima, May , and especially my group, for listening attentively and commenting the first ideas for this text. A Reader, ed. The Politics of Religious Synthesis, ed. Politics, Science, Culture, ed. Avtar Brah and Annie E. Coombes London, New York: Routledge, Palacios and Paul M. University of Arizona Press, , The authors do address human intervention and agency when dealing with the rivers-metaphor. His dissertation deals with art practices from post-war Guatemala, and his publications include questions of materiality, topography, Indigeneity, and violence. Abgerufen am The Berlin-based Forum Transregionale Studien promotes the internationalization of research in the humanities and social sciences. It provides scope for collaboration among researchers with different regional and disciplinary perspectives and appoints researchers from all over the world as Fellows. August Dezember Oktober Juni Diese Website verwendet Akismet, um Spam zu reduzieren. TRAFO — Blog for Transregional Research is a platform for scholars in the humanities and social sciences who are interested in transregional exchange and research on current issues. You will be redirected to OpenEdition Search. In all OpenEdition. Zum Inhalt springen Issues. Syncretism is experienced On a Friday evening last May, I was walking one last time through the Floral avenue in Puno, a city in the Southern Andes of Peru, on the shore of the Titicaca lake. Mask from the morenada dance on the Azoguini hill. Alasitas wrapped in aguayos listening to the mass, Alasitas Celebration. Blessing of alasitas with holy water, Alasitas Celebration.

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