Artigos de revistas sobre o tema "Humanities -> music -> latin"

This is a work-in-progress report of Miami Studies, a curricular, research, and collections-focused initiative housed at the Wolfsonian Public Humanities Lab (WPHL) at Florida International University (FIU). Miami Studies represents a unique approach to Latina/o/x studies in the Greater Miami region and at one of the largest Hispanic-Serving Institutions (HSI) in the country. The rationale, framework, and historical context for a Miami Studies school of urbanism is described in detail. This is followed by an explanation of the WPHL’s digitally focused initiatives: the digitization of a now-defunct newspaper titled Miami Life and the Mellon Foundation-funded Community Data Curation post-custodial project. Also referenced is the Díaz Ayala Collection of Cuban and Latin American Popular Music, housed at FIU Libraries.

Recent work in anthropology has attended to the imbrication of music, sound, listening, and language in research on, and from, Latin America and the Caribbean, as part of a broader movement across regions. In this article, we argue that these relations have their own intellectual genealogies in Latin America and the Caribbean, which have often been neglected in studies written about the region. We focus on recent theorization of aurality—the immediate and mediated practices of listening that construct perceptions of nature, bodies, voices, and technologies. We provide an overview of regional discourses on the interrelations of voice, orality, and writing, and then we discuss the aural turn in four areas: race; migration; socialization and youth cultures; and epistemologies of history, memory, and heritage. We put different bodies of discourse into dialogue as a means of charting a path toward decolonial (inter)disciplinary transformations that are built on other histories, vocalities, and modes of knowledge.

This article explores why, despite its diminished popularity, Afro-Cuban music remains among the most performed musics in Senegalese music clubs. Since the Second World War, many Senegalese have associated Afro-Cuban music with cosmopolitanism and modernity. In particular, Senegalese who came of age during the Independence era associate Latin music with a new model of sociability that emphasized ‘correct’ behaviour – elegant attire and self-discipline. Participating in an emerging ‘café society’ was especially important. The rise of m'balax music in the late 1970s, deemed more culturally ‘authentic’ by a younger generation coming into its own, challenged many of the values associated with Senegalese salsa. As an enlarged Senegalese public embraced m'balax, the older generation stopped going out to Dakar's nightclubs where they felt increasingly uncomfortable. However, the model of sociability this generation has championed calls for public displays of distinction and refinement. In fin-de-siècle Dakar, a number of venues emerged where Afro-Cuban music is played and powerful older Dakarois congregate, even if less frequently than formally. This article describes these venues and documents their patrons and the performances that take place there.

Matthew Cheung Salisbury, a Lecturer in Music at University and Worcester College, Oxford, and a member of the Faculty of Music at the University of Oxford, wrote this book for ARC Humanities Press’s Past Imperfect series (a series comparable to Oxford’s Very Short Introductions). Two of his recent, significant contributions to the field of medieval liturgical studies include The Secular Office in Late-Medieval England (Turnhout: Brepols, 2015) and, as editor and translator, Medieval Latin Liturgy in English Translation (Kalamazoo: Medieval Institute Publications, 2017). In keeping with the work of editors Thomas Heffernan and E. Ann Matter in The Liturgy of the Medieval Church, 2nd ed. (Kalamazoo: Medieval Institute Publications, 2005) and Richard W. Pfaff in The Liturgy of Medieval England: A History (Cambridge University Press, 2009), this most recent book provides a fascinating overview of the liturgy of the medieval church, specifically in England. Salisbury’s expertise is evident on every page.

Este texto apresenta a resenha do livro Music education in an age of virtuality and post-truth, do professor canadense da Western University, Paul G. Woodford. O livro costura o pragmatismo de John Dewey com as ideias de George Orwell sobre as sociedades de massa em busca de compreender o impacto que determinadas ações de políticos do século XXI podem causar no campo da Educação, da Arte e das Humanidades. Como conclusão, são oferecidos exemplos similares de políticos do Brasil e da América Latina, com o suporte das ideias de Newton Duarte,2 que ele chamou de O currículo em tempos de obscurantismo beligerante (2018).This text presents a review of the book Music Education in an Age of Virtuality and Post-Truth, by Canadian University Professor Paul G. Woodford (2019). The book stitches John Dewey’s pragmatism with George Orwell’s ideas about mass societies in order to understand the impact that certain actions of 21st century politicians can have on the field of Education, the Arts and the Humanities. In conclusion, similar examples of politicians from Brazil and Latin America are offered, supported by the ideas of Newton Duarte and what he called The Curriculum in times of Belligerent Obscurantism.

Abstract: The arts have consistently been interlocutors for Black scholarship in the humanities. Poetry, literature, and music are sources of knowledge for theorizing social realities. This relates to two elements: (a) an epistemology that values the production and spread of oral, subjective, and aesthetic forms of knowledge; (b) the systematic exclusion of Black people from academic spaces, especially in Latin American contexts, which encourages alternative practices of reflection and registry. Many artists actively consider what is produced in the cultural margins to be a strong locus of political and intellectual creativity. In Brazil, the rapper Emicida has been trying to make his artistic projects catalysts for philosophical reflection. His album Sobre crianças, quadris, pesadelos e lições de casa resonates with Asian, African, Black Atlantic, and Latin American sources of knowledge including religious practices, pop culture, and philosophy. It discusses themes such as love, race, racism, history, family, environmental crisis, and work relations through the combination of musical styles from Brazil, specifically, and the Black Atlantic, more generally. This article establishes a dialogue with the theories and debates suggested by this album, thus situating its contribution to Black scholarship and epistemology.

The different Latin American handcraft tells us stories from any material used in the piece. Their differences have been nourished by ancient ethnic roots and they are based in the diversity of each continental region. The crafts are as mixed as Latin America itself. In Cuba, this kind of good is created by subjects who are far away from the academic sector. The empirical knowledge is transmitted from one generation to the next, within the same community and/ or family, and consequently, historical value is added to this production, rather than its use value. The present paper exposed the handcrafts made by a descendant family from Haitian immigrants, known as “The Richards” who have settled down in a rural place located in the East part of Cuba. They are heir of a long tradition proceeding from this nearby country. Their familiar social practices creating their handcraft and also music contribute to the neighbor community. Qualitative perspective used through some in-depth interviews and the ethnographic observation allow not only examine their history and the different ways to make their goods, but also to expose their creative values and the importance of this family as a traditional group within the region and the nets of institutional structure of the East part of this Caribbean island.

This essay considers the cultural implications of a brief period in the life of New York’s Brill Building, America’s second Tin Pan Alley, a transformative moment in R&B that involved music performed by African American artists but written by songwriters committed to “Jewish Latin.” Recorded on 45 rpm vinyl, circulated in jukeboxes and on radio in new Top 40 radio formats, this sound formed young taste, and, in the bargain, its commercial cycles produced staggered temporal segments that shaped feeling and memory for a generation. One’s sense of life history, of history itself, was time-coded by what we heard and how we heard it, with some interesting implications.

“Para el camino” Canto a la angustia y a las alegrias. Canto porque es necesario can tar para ir dejando una huella en los dias, para ir diciendo cosas prohibidas.“For the Road” I sing of anguish and joy. I sing because it's necessary to sing to leave my mark on time, to say forbidden things.Latin American New Song is distinct from the usual stereotypes of Latin American popular music. Songs such as “Para el camino” do not fit into the common categories of salsa, ballads, Spanish-language versions of U.S. hit songs or popularized traditional styles such as the ranchera and cumbia. Although New Song is not as well known as the more typical styles, its greater social significance has achieved an impact in Latin America far beyond the musical realm.

The ideology of mestizaje (mixture) in Latin America has frequently been seen as involving a process of national homogenisation and of hiding a reality of racist exclusion behind a mask of inclusiveness. This view is challenged here through the argument that mestizaje inherently implies a permanent dimension of national differentiation and that, while exclusion undoubtedly exists in practice, inclusion is more than simply a mask. Case studies drawn from Colombian popular music, Venezuelan popular religion and Brazilian popular Christianity are used to illustrate these arguments, wherein inclusion is understood as a process linked to embodied identities and kinship relations. In a coda, approaches to hybridity that highlight its potential for destabilising essentialisms are analysed.

The article was to aim to investigate the semantics overview based on the cultural perspective. The aim of semantics is to discover why meaning is more complex than simply the words formed in a sentence. Culture is a word for the 'way of life' of groups of people, meaning the way they do things. The excellence of taste in the fine arts and humanities, also known as high culture. An integrated pattern of human knowledge, belief, and behavior. The outlook, attitudes, values, morals, goals, and customs shared by a society. Culture is the characteristics and knowledge of a particular group of people, encompassing language, religion, cuisine, social habits, music, and arts. The word "culture" derives from a French term, which in turn derives from the Latin "colere," which means to tend to the earth and grow, or cultivation and nurture. Well, cultural tradition can take on many forms. A tradition is usually some kind of action or event that is passed on through the generations of a certain group that practices said traditions. So WE would guess that cultural tradition is where a group of people practices certain traditions from a culture. Cultural values are the core principles and ideals upon which an entire community exists. This is made up of several parts: customs, which are traditions and rituals; values, which are beliefs; and culture, which is all of a group's guiding values.

AbstractIn this article I examine how, during a period of extreme social unrest, Venezuelan President Nicolás Maduro took up the role of a salsa radio deejay as a show of confidence in his hold on political power and of his solidarity with ordinary Venezuelans. I argue that this all but unprecedented and, for many, controversial course of action by a sitting president provides us with an unusual opportunity to analyse Venezuela's long-standing political crisis. In particular, I highlight how Maduro harnessed salsa's long association with poor Latin Americans, its connection to Venezuela and its pleasurable character to bolster his socialist credentials, and I show how this strategy unleashed a public exchange of criticisms with one legendary salsero (salsa musician), Rubén Blades. By exploring the way music intersects with politics, I show how popular culture is neither ancillary to nor derivative of the country's ever-deepening strife but, rather, constitutive of it.

The era of Muslim rule in Spain (711-1491 CE) witnessed great contributionsin many areas of knowledge and learning. Rapid strides weremade in such diverse fields as art and architecture, agriculture and handicrafts,linguistics and literature, humanities and Social studies, music andpoetry, and the physical and mechanical sciences. In fact, Islamic Spain,known to the Muslim world as al Andalus, served as a bridge for thetransfer of the knowledge and wisdom of Classical Greece to Europe, aprocess that eventually led to the European Renaissance.The achievements of al Andalus will not be discussed in this paper.Rather, a survey of current research activities focusing on al Andaluswill be presented. The areas covered are Europe, North America, NorthAfrica, and parts of Asia. Latin American activities have not been surveyeddue to the nonavailability of sources.EuropeEurope has been the center of research on al Andalus. Various periodicalshave served as major sources of information: Al-Andalus (Madrid1933), Hesperis (Paris 1921-59), Hesperis-Tamuda (Rabat 1960), Miscellanceade Estudios Arabes y Hebraicos (Granda 1952), Revista de InstitutoEgypcio de Studios Islamicos (Madrid 1953), Revue de la OccidentMusulman et la Mediterranee (Aix-en-Provence 1966), Boletin de laAssociation Espaniola de Orientalistas (Madrid 1965), and Cuadernos dela Alhambra (Granada 1965).Certain important books have also appeared, such as Peres: la PoisieAndalousie, which includes a history of that period. Introductions to editionsof texts and translations relate important infonnation about al Andalusunder the al Murabitun and the al Mu’ahhidun dynasties. Hourani(1961) has written an excellent book: Averroes: On the Harmony of Religionand Philosophy. Memorial volumes in honor of E. Levi-Provencal,G. and W. Marcais, Menendes Pidal, Millas Vallicrosa y Parya, A. H. andR. Basset, H. A. R. Gibb and H. Wehr also contain much valuable data.Mention must be made of translations by institutes devoted to thestudy of al Andalus: Dar al Thaqafah (Beirut) has published valuablebooks, as have several Spanish and North African organizations (i.e.,Conjeyo Superior de Investigaciones Cientificas Madrid], Instituto deStudios Islambs [Madrid], Institute des Haut-Etudes Marocaines Paris ...

I was very excited to get my hands on what was promising to be a magnificent and extremely helpfulHandbook of Rhetorical Studies, and my expectations were matched – and exceeded! This handbook contains no less than sixty contributions written by eminent experts and is divided into six parts. Each section opens with a brief orientation essay, tracing the development of rhetoric in a specific period, and is followed by individual chapters which are organized thematically. Part I contains eleven chapters on ‘Greek Rhetoric’, and the areas covered are law, politics, historiography, pedagogy, poetics, tragedy, Old Comedy, Plato, Aristotle, and closing with the Sophists. Part II contains thirteen chapters on ‘Ancient Roman Rhetoric’, which similarly covers law, politics, historiography, pedagogy, and the Second Sophistic, and adds Stoic philosophy, epic, lyric address, declamation, fiction, music and the arts, and Augustine to the list of topics. Part III, on ‘Medieval Rhetoric’, covers politics, literary criticism, poetics, and comedy; Part IV, on the Renaissance contains chapters on politics, law, pedagogy, science, poetics, theatre, and the visual arts. Part V consists of seven essays on the early modern and Enlightenment periods and is decidedly Britano-centric: politics, gender in British literature, architecture, origins of British Enlightenment rhetoric, philosophy (mostly British, too), science, and the elocutionary movement in Britain. With Chapter 45 we arrive at the modern age section (Part VI), with two chapters on feminism, one on race, and three on the standard topics (law, political theory, science), grouped together with those on presidential politics, New Testament studies, argumentation, semiotics, psychoanalysis, deconstruction, social epistemology, and environment, and closing with digital media. The volume also contains a glossary of Greek and Latin rhetorical terms. As the editor states in his Introduction, the aim of the volume is not only to provide a comprehensive history of rhetoric, but also to enable those interested in the role of rhetoric in specific disciplines or genres, such as law or theatre and performance, to easily find those sections in respective parts of the book and thus explore the intersection of rhetoric with one specific field in a chronological sequence.

Industrial livestock production with its communication strategy aimed at concealing a filthy death and the bad taste of the meat produced has become an important motif in contemporary literature. How to create a narrative about the quiet life of animals that blend in a large herd? A life that is ruthlessly framed by a beginning (insemination) and an end (slaughter) lacks deviation and adventure—it lacks the possibility of becoming the material for a novel. The aim of this article is to examine the poetic devices and ethical aspirations of an emerging genre called the ‘agroalimentary novel,’ which depicts animals for profit and recreates their unique existence worthy of a story. Agroalimentary novels have become increasingly common in Europe and the Americas in the last decade. They raise the issue of taste very plainly: in Latin (gustus) and Old French (in the 12th c., gost and in the 13th c., goust), ‘taste’ is understood literally and figuratively, and is linked to the sense and appreciation of taste. The meaning of taste is associated with aesthetics, and not only with the senses, but also with art, not only with the body, but also with social issues; it refers to both practical activities and norms. How do the themes of livestock production and slaughterhouses relate to the issue of taste? Writers and readers find the aesthetics of the traditional novel problematic. When depicting it, some become inarticulate, while others are confronted with the inability to talk about it. In both cases, they confront the impossible symbolic act of appropriation. Loathing and disgust that is physically expressed and less humanly focused, even more distinctly than in the work of Jean Paul Sartre or in the various accounts of war, have entered literature.

La seconda metà del XIII sec., periodo nel quale opera politicamente e culturalmente Alfonso X, rappresenta il momento di massima fioritura della miracolistica mariana nello spazio europeo. Le collezioni di miracoli mariani allora disponibili sono sia il frutto di una tradizione di opere universalmente riconosciute che narrano fatti prodigiosi permessi dall’intermediazione della Vergine Maria, sia il risultato di nuove aggiunte ai temi più tradizionali. Inoltre, alle collezioni trasmesse in lingua latina, si affiancano anche altre raccolte in volgare scaturite non solo dalla penna di nuovi ecclesiastici o monaci, ma anche da quelle di devoti laici, assumendo così aspetti e finalità del tutto nuove. Il presente contributo vuole offrire una panoramica ragionata di queste collezioni – sia locali che diffuse a livello internazionale – accessibili o meno al tempo del sovrano Alfonso X, detto «Il Saggio».

Il contributo intende ripercorrere brevemente la ricezione critica del ms. Yates Thompson 36, mostrando le intersezioni tra la storia della fortuna del manoscritto e la storia della fortuna dei manoscritti illustrati danteschi dal Novecento ad oggi. Quanto emerge dimostra che la parabola della Commedia di Alfonso V di Aragona coincide, fino alla metà del secolo scorso, con quella di altri manoscritti signorili come l’Urbinate Latino 365, precocemente valorizzati per il loro interesse storico-artistico. Con l’avvento di una nuova stagione degli studi, orientata allo studio della valenza esegetica del corredo illustrativo, il destino dello Yates Thompson si riallinea a quello di altri manoscritti, più antichi e ‘meno celebri’, nel segno di una nuova prospettiva sulla tradizione figurativa dantesca fondata sulla ricostruzione della storia materiale e culturale del codice.

The advent of digital resources, the Internet, and an interconnected globe has deeply affected the humanities and its research. Music scholars in Latin America, like everywhere else, have observed this explosion of digital information sharing, but not everyone has been able to take advantage of the new opportunities afforded by this technology. On the one hand, advantages of digitization are slowly becoming recognized as tools to fight the enormous size of the region (Latin America), especially through technology's ability to easily and promptly disperse sources across great distances. In addition, digitization acts as an aid in countering the endemic lack of economic resources, and more broadly offers a path towards making the academic world a more connected and equal place. On the other hand, it is undeniable that the digital revolution has not reached people across the globe equally. Digital segregation is a problem that deeply impacts numerous nations around world; and for Latin America and the Caribbean, it has meant a slower pace of incorporation into the digital era. Key databases like JSTOR and the various READEX products are still largely unavailable to scholars in Latin America, and, given the steep price of such resources, the fight for a world of open-source information is becoming increasingly political.

Efforts to identify in the expression “being moved” a new emotion have found a hospitable environment in the recent turn to the body in emotion and cognitive studies, exemplified herein affect theory, with a particular focus on the effects of music. Although classical Greek and Latin had comparable expressions, however, they did not single out a specific emotion. Given that music played an important role in ancient educational theories, and was imagined as having arousing powerful reactions, this might seem a curious absence. The reason, at least in part, maybe the strong cognitive conception of emotions characteristic of classical theories. But this should not discourage the search for emotions that are not included in the ancient canons.

In 2009, Residente, the lead singer of a well-known Latinx music group and newly appointed international ambassador for the Latino Commission on AIDS, likened Latinxs in the US to HIV/AIDS. Taking this fertile equivalence as a conceptual point of departure, this article tracks the pitfalls and possibilities of aligning these two positions, touching on the performativity of disgust, the transmission of brown affect, and economies of racialization and deracination via the exchange of viral matter. Building upon the reparative labour of critical mestizaje, which came to the fore of Latinx studies in the 1980s, I reimagine the potentiality of a “viral mestizaje,” a form of relatedness that allows for networks of intimacy, multiplicity, and reproduction that extend beyond heternormative coupling. What is at stake in the positioning of Latinxs as “just like AIDS”? What are the possibilities and problems of analogy?

Afro-LatinX drag artist Gad Yola was born in Lima in 1995, migrated to Spain in 2006, and began performing in Madrid in 2017, a year marked by the rise of Spanish nationalism. This interview acquaints us with Gad Yola's artistic vision and practices. It orients us toward the growing presence of “Brown art” in the Peninsula, taking a deeper look at the work of artists who declare themselves “migrants” or “Migrantas” and examining the use of LatinX’s X in Spain. Gad Yola’s career includes performances such as “El drag es marrón” (“Drag Is Brown”), the exhibition “Hypernariz” (“Hypernose”), and the music videos “No exotice” (“Don’t Exoticize”), “Aguanta Migranta” (“Hang in There, Mx. Migrant”), “Travesti del Perú” (“Trans from Peru”), and “Problemática” (“Troublemaker”). The analysis of these works focuses on the use of pop-reggaeton-cumbia rhythms, the politicization of Gad Yola’s fashion, and her references to colonial history and Spanish, Peruvian, and US pop culture. LatinX’s transatlantic “X” emerges on social media and webs across these geographies, accompanying Gad Yola’s oeuvre and the work of other artists from the Spanish capital with whom she has collaborated, including Chenta Tsai Tseng, Samantha Hudson, and the drag families Casa Drag Latina and House of Gad. From Madrid’s bars, squat houses, and museums, Gad Yola reclaims, invigorates, and re-conceptualizes such referents like Peruvian artist and philosopher Giuseppe Campuzano, while also coming up with characters like “Gad Bunny” and “Gadyoncé,” thus embodying a Global South LatinXness. Gad Yola’s queer, anti-racist art evokes a Global Iberian LatinX that bridges these terms and expands them, reconfiguring the cultural scene in Spain and beyond.

The Directory on Popular Piety and the Liturgy (DPPL) upholds that Christian worship originates and is brought to completion in the Spirit of Christ, which dispenses truthful liturgical devotion and realistic manifestations of popular piety. A vigorous engagement of evangelization and culture is embodied in the Sabuaga Festival, an Easter Sunday celebration in Sto. Tomas, Pampanga. It is a collaboration of the Catholic Church (St. Thomas the Apostle Parish) and the Local Government Unit (Sto. Tomas). This paper argues how a true and fruitful harmony between liturgy and popular piety is achieved in the Sabuaga Festival. Hence, the researcher articulates the following, namely: First, the dimensions of the Sabuaga Festival that make it an expression of popular piety. Second, the principles offered by DPPL for the true and fruitful harmonization of liturgy and popular piety. 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God and the world: believing and living in our time: A Conversation with Peter Seewald. Translated by Henry Taylor. San Francisco, CA: Ignatius Press, 2002. __________. “Sacred Places: The Altar and the Direction of Liturgical Prayer,” The Institute for Sacred Architecture. Accessed last March 31, 2021 from https://www.sacredarchitecture.org/articles/the_altar_and_the_direction_of_liturgical_prayer/. Rosales, Daniel Montoya. “The Influence of the Missionary Heritage on Liturgical Forms.” International Review of Missions, 74, 295 (July 1985): 373-376. https://doi.org/10.1111/j.1758-6631.1985.tb02595.x Sacramentum Caritatis. Post-Synodal Apostolic Exhortation on the Eucharist as the Source and Summit of the Church's Life and Mission, solemnly promulgated by His Holiness Benedict XVI on 22 February 2007. Accessed March 29, 2021 from https://www.vatican.va/content/benedict-xvi/en/apost_exhortations/documents/hf_ben-xvi_exh_20070222_sacramentum-caritatis.html#Actuosa_participatio Sacrosanctum Concilium. Constitution on Sacred Liturgy, solemnly promulgated by His Holiness Pope Paul VI on December 4, 1963. Accessed last 1 April 2021 from https://www.vatican.va/archive/hist_councils/ii_vatican_council/documents/vat-ii_const_19631204_sacrosanctum-concilium_en.html Saunders, William. “Icons and Sacred Images,” Catholic Exchange. Last modified January 19, 2017. Accessed last 4 April 2021 from https://catholicexchange.com/icons-sacred-images-2. Salvador, Ryan. “Some Reflections on Theology and Popular Piety: A Fruitful or Fraught Relationship?” HeyJ 53 (2012): 961–971. Scheuman, Joseph. “Five Truths About the Incarnation,” Desiring God. Last Modified 25 December 2013. Accessed last March 31, 2021 from https://www.desiringgod.org/articles/five-truths-about-the-incarnation. Sheehan, Peter C. “Role of Music in Liturgy.” Academia.edu. Accessed March 31, 2021. https://www.academia.edu/12569062/Role_of_Music_in_Liturgy. Stroik, Duncan G., and Barbara J. Elliott, James Fitzmaurice, et al. “The Church Building as Sacred Place: Beauty, Transcendence & Eternal,” The Imaginative Conservative. Last modified August 13, 2019. Accessed last 4 April 2021 from https://theimaginativeconservative.org/2013/02/the-church-building-as-sacred-place.html. Synod of Bishops XIII Ordinary General Assembly The New Evangelization for the Transmission of the Christian Faith, Instrumentum Laboris" promulgated in 2012. Accessed last March 30, 2021 from http://www.vatican.va/roman_curia/synod/documents/rc_synod_doc_20120619_instrumentum-xiii_en.html. Szylak, Paweł. “Popular Piety: Processions,” The Dominican Friars – England and Scotland. Last modified 14 January 2014. Accessed March 31, 2021. https://www.english.op.org/godzdogz/popular-piety-processions. Theodula and Popular Religiosity. “Liturgy and Popular Religiosity: Historical Perspective,” accessed last 4 April 2020 from https://theologicaldramatics.wordpress.com/popular-religiosity/02-popular-religionreligiosity-and-official-liturgy/notes-mark-francis-csv/ Theodula and Popular Religiosity. “Debosyon.” Accessed last 4 April 2021 from https://theologicaldramatics.wordpress.com/liturgy-popular-piety-religiosity-in-the-magisterium/ Thompson, O.P Augustine. “The Dominican Venia and Kissing the Scapular.” New Liturgical Movement. Last modified 5 July 2008. Accessed March 31, 2021 from http://www.newliturgicalmovement.org/2008/07/dominican-venia-and-kissing-scapular.html#.YGQCrZMzbe0. Appendix: SC- Sacrosanctum Concilium CCC- Catechism of the Catholic Church DPPL- Directory on Popular Piety and the Liturgy YOUCAT- Youth Catechism EG- Evangelii Gaudium

Kylie Minogue, her interviewer tells us in the October 2000 issue of Sky Magazine, is a "fatalist": meaning she "believe[s] everything happens for a reason" (Minogue "Kylie" 20). And what kind of reason would that be? Well, the Australian singer gives us a few clues in her interview of the previous month with Attitude, which she liberally peppers with references to her personal beliefs (Minogue "Special K" 43-46). When asked why she shouldn't be on top all the time, she explains: "It's yin and yang. It's all in the balance." A Taoist – or at any rate Chinese – perspective then? Yet, when asked whether it's important to be a good person, she responds: "Do unto others." That's St. Matthew, therefore Biblical, therefore probably Christian. But hang on. When asked about karma, she replies: "Karma is my religion." That would be Hindu, or at least Buddhist, wouldn't it? Still she goes on … "I have guilt if anything isn't right." Now, far be it from us to perpetuate religious stereotypes, but that does sound rather more like a Western church than either Hinduism or Buddhism. So what gives? Clearly there have always been religious references made by Western pop stars, the majority of them, unsurprisingly, Christian, given that this has traditionally been the major Western religion. So there's not much new about the Christian references of Tina Arena or Céline Dion, or the thankyous to God offered up by Britney Spears or Destiny's Child. There's also little that's new in references to non-Christian religions – who can forget the Beatles' flirtation with Hinduism back in the 1960s, Tina Turner's conversion to Buddhism or Cat Stevens' to Islam in the 1970s, or the Tibetan Freedom concerts of the mid- to late nineties organised by the Beastie Boys' Adam Yauch, himself a Buddhist convert? What is rather new about this phenomenon in Western pop music, above and beyond its scale, is the faintly dizzying admixture of religions to be found in the songs or words of a single artist or group, of which Kylie's interviews are a paradigmatic but hardly isolated example. The phenomenon is also evident in the title track from Affirmation, the 1999 album by Kylie's compatriots, Savage Garden, whose worldview extends from karma to a non-evangelised/ing God. In the USA, it's there in the Buddhist and Christian references which meet in Tina Turner, the Christian and neo-pagan imagery of Cyndi Lauper's recent work, and the Christian iconography which runs into buddhas on Australian beaches on REM's 1998 album Up. Of course, Madonna's album of the same year, Ray of Light, coasts on this cresting trend, its lyrics laced with terms such as angels, "aum", churches, earth [personified as female], Fate, Gospel, heaven, karma, prophet, "shanti", and sins; nor are such concerns entirely abandoned on her 2000 album Music. In the UK, Robbie Williams' 1998 smash album I've Been Expecting You contains, in immediate succession, tracks entitled "Grace", "Jesus in a Camper Van", "Heaven from Here" … and then "Karma Killer". Scottish-born Annie Lennox's journey through Hare Krishna and Buddhism does not stop her continuing in the Eurythmics' pattern of the eighties and littering her words with Christian imagery, both in her nineties solo work and the songs written in collaboration with Dave Stewart for the Eurythmics' 1999 reunion. In 2000, just a year after her ordination in the Latin Tridentine Church, Irish singer Sinéad O'Connor releases Faith and Courage, with its overtones of Wicca and paganism in general, passing nods to Islam and Judaism, a mention of Rasta and part-dedication to Rastafarians, and considerable Christian content, including a rendition of the "Kyrié Eléison". Even U2, amongst their sometimes esoteric Christian references, find room to cross grace with karma on their 2000 album All That You Can't Leave Behind. In Germany, Marius Müller-Westernhagen's controversial single "Jesus" from his 1998 chart-topping album Radio Maria, named after a Catholic Italian radio station, sees him in countless interviews elaborating on themes such as God as universal energy, the importance of prayer, the (unnamed but implicit) idea of karma and his interest in Buddhism. Over a long career, the eccentric Nina Hagen lurches through Christianity, Hinduism, Hare Krishna, and on towards her 2000 album Return of the Mother, where these influences are mixed with a strong Wiccan element. In France, Mylène Farmer's early gothic references to Catholicism and mystical overtones lead towards her "Méfie-toi" ("Be Careful"), from the 1999 album Innamoramento, with its references to God, the Virgin, Buddha and karma. In Italy, Gianna Nannini goes looking for the soul in her 1998 "Peccato originale" ("Original sin"), while on the same album, Cuore (Heart), invoking the Hindu gods Shiva and Brahma in her song "Centomila" ("One Hundred Thousand"). "The world is craving spirituality so much right now", Carlos Santana tells us in 1995. "If they could sell it at McDonald's, it would be there. But it's not something you can get like that. You can only wake up to it, and music is the best alarm" (qtd. in Obstfeld & Fitzgerald 166). It seems we're dealing here with quite a significant development occurring under the auspices of postmodernism – that catch-all term for the current mood and trends in Western culture, one of whose most conspicuous manifestations is generally considered to be a pick 'n' mix attitude towards artefacts from cultures near and distant, past, present and future. This rather controversial cultural eclecticism is often flatly equated with the superficiality and commercialism of a generation with no historical or critical perspective, no interest in obtaining one, and an obsession with shopping for lifestyle accessories. Are pop's religious references, in fact, simply signifieds untied from signifiers, symbols emptied of meaning but amusing to play with? When Annie Lennox talks of doing a "Zen hit" (Lennox & Stewart n.pag.), or Daniel Jones describes himself and Savage Garden partner Darren Hayes as being like "Yin and Yang" (Hayes & Jones n.pag.), are they merely borrowing trendy figures of speech with no reflection on what lies – or should lie – or used to lie behind them? When Madonna samples mondial religions on Ray of Light, is she just exploiting the commercial potential inherent in this Shiva-meets-Chanel spectacle? Is there, anywhere in the entire (un)holy hotchpotch, something more profound at work? To answer this question, we'll need to take a closer look at the trends within the mixture. There isn't any answer in religion Don't believe one who says there is But… The voices are heard Of all who cry The first clear underlying pattern is evident in these words, taken from Sinéad O'Connor's "Petit Poulet" on her 1997 Gospel Oak EP, where she attacks religion, but simultaneously undermines her own attack in declaring that the voices "[o]f all who cry" will be heard. This is the same singer who, in 1992, tears up a picture of the Pope on "Saturday Night Live", but who is ordained in 1999, and fills her 2000 album Faith and Courage with religious references. Such a stance can only make sense if we assume that she is assailing, in general, the organised and dogmatised version(s) of religion expounded by many churches - as well as, in particular, certain goings-on within the Catholic Church - but not religion or the God-concept in and of themselves. Similarly, in 1987, U2's Bono states his belief that "man has ruined God" (qtd. in Obstfeld & Fitzgerald 174) – but U2 fans will know that religious, particularly Christian, allusions have far from disappeared from the band's lyrics. When Stevie Wonder admits in 1995 to being "skeptical of churches" (ibid. 175), or Savage Garden's Darren Hayes sings in "Affirmation" that he "believe[s] that God does not endorse TV evangelists", they are giving expression to pop's typical cynicism with regard to organised religion in the West – whether in its traditional or modern/evangelical forms. Religion, it seems, needs less organisation and more personalisation. Thus Madonna points out that she does not "have to visit God in a specific area" and "like[s] Him to be everywhere" (ibid.), while Icelandic singer Björk speaks for many when she comments: "Well, I think no two people have the same religion, and a lot of people would call that being un-religious [sic]. But I'm actually very religious" (n.pag.). Secondly, there is a commonly-expressed sentiment that all faiths should be viewed as equally valid. Turning again to Sinéad O'Connor, we hear her sing on "What Doesn't Belong to Me" from Faith and Courage: "I'm Irish, I'm English, I'm Moslem, I'm Jewish, / I'm a girl, I'm a boy". Annie Lennox, her earlier involvement with Hare Krishna and later interest in Tibetan Buddhism notwithstanding, states categorically in 1992: "I've never been a follower of any one religion" (Lennox n.pag.), while Nina Hagen puts it this way: "the words and religious group one is involved with doesn't [sic] matter" (Hagen n.pag.). Whatever the concessions made by the Second Vatican Council or advanced by pluralist movements in Christian theology, such ideological tolerance still draws strong censure from certain conventional religious sources – Christian included – though not from all. This brings us to the third and perhaps most crucial pattern. Not surprisingly, it is to our own Christian heritage that singers turn most often for ideas and images. When it comes to cross-cultural borrowings, however, this much is clear: equal all faiths may be, but equally mentioned they are not. Common appropriations include terms such as karma (Robbie Williams' 1998 "Karma Killer", Mylène Farmer's 1999 "Méfie-toi", U2's 2000 "Grace") and yin and yang (see the above-quoted Kylie and Savage Garden interviews), concepts like reincarnation (Tina Tuner's 1999/2000 "Whatever You Need") and non-attachment (Madonna's 1998 "To Have and Not to Hold"), and practices such as yoga (from Madonna through to Sting) and even tantrism (Sting, again). Significantly, all of these are drawn from the Eastern faiths, notably Hinduism, Buddhism and Taoism, though they also bear a strong relation to ideas found in various neo-pagan religions such as Wicca, as well as in many mystical traditions. Eastern religions, neo-paganism, mysticism: these are of course the chief sources of inspiration for the so-called New Age, which constitutes an ill-defined, shape-shifting conglomeration of beliefs standing outside the mainstream Middle Eastern/Western monotheistic religious pantheon. As traditional organised religion comes under attack, opening up the possibility of a personal spirituality where we can pick and choose, and as we simultaneously seek to redress the imbalance of religious understanding by extending tolerance to other faiths, it is unsurprising that we are looking for alternatives to the typical dogmatism of Christianity, Islam and even Judaism, to what German singer Westernhagen sees as the "punishing God" of the West ("Rock-Star" n.pag.). Instead, we find ourselves drawn to those distant faiths whose principles seem, suddenly, to have so much to offer us, including a path out of the self-imposed narrow-mindedness with which, all too often, the major Western religions seem to have become overlaid. Despite certain differences, the Eastern faiths and their New Age Western counterparts typically speak of a life force grounding all the particular manifestations we see about us, a balance between male and female principles, and a reverence for nature, while avoiding hierarchies, dogma, and evangelism, and respecting the equal legitimacy of all religions. The last of these points has already been mentioned as a central issue in pop spirituality, and it is not difficult to see that the others dovetail with contemporary Western cultural ideals and concerns: defending human rights, promoting freedom, equality and tolerance, establishing international peace, and protecting the environment. However limited our understanding of Eastern religions may be, however convenient that may prove, and however questionable some of our cultural ideals might seem, whether because of their naïveté or their implicit imperialism, the message is coming through loud and clear in the world of pop: we are all part of one world, and we'd better work together. Madonna expresses it this way in "Impressive Instant" on her 2000 album, Music: Cosmic systems intertwine Astral bodies drip like wine All of nature ebbs and flows Comets shoot across the sky Can't explain the reasons why This is how creation goes Her words echo what others have said. In "Jag är gud" ("I am god") from her 1991 En blekt blondins hjärta (A Bleached Blonde's Heart), the Swedish Eva Dahlgren sings: "varje själ / är en del / jag är / jag är gud" ("every soul / is a part / I am / I am god"); in a 1995 interview Sting observes: "The Godhead, or whatever you want to call it - it's better not to give it a name, is encoded in our being" (n.pag.); while Westernhagen remarks in 1998: "I believe in God as universal energy. God is omnipresent. Everyone can be Jesus. And in everyone there is divine energy. I am convinced that every action on the part of an individual influences the whole universe" ("Jesus" n.pag.; my transl.). In short, as Janet Jackson puts it in "Special" from her 1997 The Velvet Rope: "You have to learn to water your spiritual garden". Secularism is on its way out – perhaps playing the material girl or getting sorted for E's & wizz wasn't enough after all – and religion, it seems, is on its way back in. Naturally, there is no denying that pop is also variously about entertainment, relaxation, rebellion, vanity or commercialism, and that it can, from time to time and place to place, descend into hatred and bigotry. Moreover, pop singers are as guilty as everyone else of, at least some of the time, choosing words carelessly, perhaps merely picking up on something that is in the air. But by and large, pop is a good barometer of wider society, whose trends it, in turn, influences and reinforces: in other words, that something in the air really is in the air. Then again, it's all very well for pop stars to dish up a liberal religious smorgasbord, assuring us that "All is Full of Love" (Björk) or praising the "Circle of Life" (Elton John), but what purpose does this fulfil? Do we really need to hear this? Is it going to change anything? We've long known, thanks to John Lennon, that you can imagine a liberal agenda, supporting human rights or peace initiatives, without religion – so where does religion fit in? It has been suggested that the emphasis of religion is gradually changing, moving away from the traditional Western focus on transcendence, the soul and the afterlife. Derrida has claimed that religion is equally, or even more importantly, about hospitality, about human beings experiencing and acting out of a sense of the communal responsibility of each to all others. This is a view of God as, essentially, the idealised sum of humanity's humanity. And Derrida is not alone in giving voice to such musings. The Dalai Lama has implied that the key to spirituality in our time is "a sense of universal responsibility" (n.pag.), while Vaclav Havel has described transcendence as "a hand reached out to those close to us, to foreigners, to the human community, to all living creatures, to nature, to the universe" (n.pag.). It may well be that those who are attempting to verbalise a liberal agenda and clothe it in expressive metaphors are discovering that there are - and have always been - many useful tools among the global religions, and many sources of inspiration among the tolerant, pluralistic faiths of the East. John Lennon's imaginings aside, then, let us briefly revisit the world of pop. Nina Hagen's 1986 message "Love your world", from "World Now", a plea for peace repeated in varying forms throughout her career, finds this formulation in 2000 on the title track of Return of the Mother: "My revelation is a revolution / Establish justice for all in my world". In 1997, Sinéad points out in "4 My Love" from her Gospel Oak EP: "God's children deserve to / sleep safe in the night now love", while in the same year, in "Alarm Call" from Homogenic, Björk speaks of her desire to "free the human race from suffering" with the help of music and goes on: "I'm no fucking Buddhist but this is enlightenment". In 1999, the Artist Formerly Known as Prince tells an interviewer that "either we can get in here now and fix [our problems] and do the best we can to help God fix [them], or we can... [y]ou know, punch the clock in" (4). So, then, instead of encouraging the punching in of clocks, here is pop being used as a clarion-call to the faith-full. Yet pop - think Band Aid, Live Aid and Net Aid - is not just about words. When, in the 2000 song "Peace on Earth", Bono sings "Heaven on Earth / We need it now" or when, in "Grace", he begs for grace to be allowed to cancel out karma, he is already playing his part in fronting the Drop the Debt campaign for Jubilee 2000, while U2 supports organisations such as Amnesty International, Greenpeace and War Child. It is no coincidence that the Eurythmics choose to entitle their 1999 comeback album Peace, or give one of its tracks a name with a strong Biblical allusion, "Power to the Meek": not only has Annie Lennox been a prominent supporter of the Dalai Lama and the Tibetan cause, but she and Dave Stewart have divided the proceeds of their album and accompanying world tour between Amnesty International and Greenpeace. Religion, it appears, can offer more than hackneyed rhymes: it can form a convenient metaphorical basis for solidarity and unity for those who are, so to speak, prepared to put their money - and time and effort - where their mouths are. Annie Lennox tells an interviewer in 1992: "I hate to disappoint you, but I don't have any answers, I'm afraid. I've only written about the questions." (n.pag). If a cursory glance at contemporary Western pop tells us anything, it is that religion, in its broadest and most encompassing sense, while not necessarily offering all the important answers, is at any rate no longer seen to lie beyond the parameters of the important questions. This is, perhaps, the crux of today's increasing trend towards religious eclecticism. When Buddha meets Christ, or karma intersects with grace, or the Earth Goddess bumps into Shiva, those who've engineered these encounters are - moving beyond secularism but also beyond devotion to any one religion - asking questions, seeking a path forward, and hoping that at the points of intersection, new possibilities, new answers - and perhaps even new questions - will be found. References Björk. "Björk FAQ." [Compiled by Lunargirl.] Björk - The Ultimate Intimate. 1999. 26 Jan. 2001. <http://bjork.intimate.org/quotes/>. Dalai Lama. "The Nobel [Peace] Lecture." 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