By Birgit Meyer
The valuable subject matter of this quantity is the incorporation of newly obtainable mass media into practices of spiritual mediation in a number of settings, together with Pentecostal-charismatic church buildings and Islamic hobbies, and using spiritual varieties and photographs within the sphere of radio and cinema. in response to a long term cooperation, the participants learn the position of faith and media within the emergence and sustenance of latest ‘aesthetic formations’ that entice the physique and the senses, and generate new types of binding and moods of belonging in our time.
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Additional info for Aesthetic Formations: Media, Religion, and the Senses (Religion Culture Critique)
Time and again, he received a standing ovation from the audience. TV-cameras pushed forward, trying to get as close as possible to the speaker. People in the audience took pictures as well. The opening of the Cultural Week ended with a presentation of “Xangô Awards” to people whose outstanding support for the community of Candomblé needed to be highlighted. It turned out to be a veritable celebrity show as artists, scholars, actors, and TV personalities from within the Candomblé community handed over the sculpted statues to artists, scholars, actors, and TV personalities from the society at large.
The religion that we practice is an African religion, it’s essence is African. We are Brazilians, but we have a religion of Yorubá origin. African” (Mãe Stella, in Pretto and Serpa 2002, 33). “Purity” also means calling a halt to the blurring of boundaries between Candomblé as “religion” and Candomblé as popular culture. ” She repeatedly fulminated against the profanation of sacred symbols from Candomblé in the field of entertainment, commerce, and carnival.
As I explained in the previous section, the new possibilities for public exposure may be found to threaten longstanding modes of binding participants, as in the case of the aforementioned Mae Stella who fiercely opposes the public representation of forms and elements derived from Candomblé, and insists on keeping what really matters out of the limelight of cameras. As van de Port shows (Chapter 1), Mae Stella’s dismissal of the migration of Candomblé’s expressive forms into folkloristic entertainment exemplifies a politics of boundary maintenance.