| The conversion of the Tainos and the African slaves
to the Catholic faith and the preservation of the faith among the
European settlers were major endeavors of the church in the Americas.
However, while there were many priests available in San Juan, the
rest of the towns and regions in the island were severely understaffed
until the late seventeen century due in part to the chronic poverty
of Puerto Rico. This circumstance contributed to a lax enforcement
of the obligations imposed on the encomenderos (plantation administrators)
by the agreements between the Catholic king and the Pope. Therefore,
African slaves found that the colonists looked the other way when
they gathered to be among themselves on Sundays.
After much debate, the Spanish government, in consultation with
the Catholic church, established the cabildos or naciones along
ethnic lines, since the policy of segregating slaves impacted directly
on the productivity of the plantation. The cabildos permitted the
slaves to maintain their religious rituals, albeit camouflaged,
and to buy their freedom. But the deal that allowed the Africans
to maintain their religious music depended on their being baptized
as Christians. By 1765, most of the citizens of Puerto Rico were
free. There only remained 5,000 slaves in the island. Increasingly,
the cabildos began to serve poor Spanish and mulatto workers as
well.
Until the early 1900s, Santería remained a close secret among members
of the Afro-Puerto Rican community. But, gradually, Santeria became
public as the island’s musicians emerged from the neighborhoods
strongly associated with the descendants of African slaves. By the
1950s even the most sacred instruments and sacred rhythms made it
to the dancehall.
To familiarize yourself with the origins and development of Santería
and to explore some of the practices of this Puerto Rican religious
experience, visit the following web sites: http://www.religioustolerance.org/santeri.htm;
http://religiousmovements.lib.virginia.edu/nrms/santeria.html |
Answer the questions below.
1. What are the major characteristics of Santería?
2. Compare and contrast the major features of Christianity that
coincided with African rites, thus permitting the development of
the syncretic beliefs of Santería.
3. Discuss how the music selections played in class reflect Santeria
religious experience.
Listen to the following examples of Afro-Cuban religious music
in a recording by Grupo Folklórico Nacional:
1. Chant to Eleggua, orisha of crossroads
2. Chant and drumming to Changó, orisha of virility, fire,
thunder, and drums
As you listen to these chants, identify the basic structure of
invocation, theme, and choral response that is characteristic of
West African music. The drumming to Changó particularly exemplifies
the structure of cross-rhythms as discussed by Professor Ladzekpo
in the previous assignment.
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