By Birgit Meyer
ISBN-10: 0230605559
ISBN-13: 9780230605558
The imperative subject matter of this quantity is the incorporation of newly obtainable mass media into practices of spiritual mediation in quite a few settings, together with Pentecostal-charismatic church buildings and Islamic events, and using non secular kinds and pictures within the sphere of radio and cinema. according to a long term cooperation, the members study the function 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)
Sample text
She wrote: Our religion is so strong and so mysterious that it raises the curiosity of those who are outside. They seem to think that a host of curious questions, sometimes even impertinent ones, is synonymous with knowledge. 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.
Huge statues representing the orixás have been erected at central points in the Bahian capital Salvador, Candomblé terreiros have been put on the list of the state’s historical monuments, and—as can be deduced from the opening night of the Cultural Week—politicians regularly appear in front of the cameras with Candomblé priestesses to make sure that their links with the Candomblé universe are publicly known. On the commercial front, Bahiatursa, the state tourist organization, is fully involved in the dispersion of Candomblé imagery so as to create a recognizable and marketable profile on the global market for exotic travel: a visit to a nightly ceremony of Candomblé is now an obligatory element in the Bahian tourist program.
Of course this is prefigured in Clifford Geertz’ famous distinction between religious “models of the world” and “models for the world” (1973), which is also based on the drive to create the world in the light of the ideal image believers have of it. However, whereas in Geertz’ exposé the transformation of the world is to occur by following a set of norms, in the cases that stand central in this volume, we encounter a strong drive to capture and as it were colonize the world as a space, which is seen as a stage for the final struggle between God and the Devil, and which implicates all domains of society.
Aesthetic Formations: Media, Religion, and the Senses (Religion Culture Critique) by Birgit Meyer
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