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.330, he writes:Perhaps I should make it clear to those who have misinterpreted me as simplysaying African religions disappeared in the United States that what I was at-tempting to say is that the distinctiveness of the slave s religious culture lay notin their preservation of Africanisms but in the African perspectives, habits,preferences, aesthetics, and styles with which Africans and their descendantsshaped their religious choices in the very diverse situations and circumstancesof slavery.5.Katherine J.Hagedorn, Divine U erances: The Performance of A o-Cuban Sante-ria (Washington, D.C.: Smithsonian Institution Press, 2001), pp.6, 116 117; and Walker,No More, No More, p.xii.6.David Todd Lawrence, Folkloric Representation and Extended Context in theExperimental Ethnography of Zora Neale Hurston, Southern Folklore 57:2 (2000): 125.7.Donald J.Cosentino, ed., Sacred Arts of Haitian Vodou (Los Angeles: Fowler Mu-seum of Culture History, University of California, 1995).8.Joseph Roach, Cities of the Dead: Circum-Atlantic Performance (New York: Co-lumbia University Press, 1996), pp.xi, xii, 4, 5.According to Walter Johnson, New Or-leans housed the biggest slave market in North America in the nineteenth century, where100,000 men, women, and children were packaged, priced, and sold ; see his Soul by Soul:Life inside the Antebellum Slave Market (Cambridge, Mass.: Harvard University Press,1999), front flap.Thus New Orleans was one of the major cities of the dead where theunspeakable violence and social death of slavery began for thousands of black people inthe modern world (Roach, Cities of the Dead, pp.xi, 4).Roach s perspective overlaps withPaul Gilroy s ideas in The Black Atlantic: Modernity and Double Consciousness (Cambridge,Mass.: Harvard University Press, 1993); Small Acts: Thoughts on the Politics of Black Cultures(London: Serpent s Tail, 1993); and There Ain t No Black in the Union Jack : The CulturalPolitics of Race and Nation (Chicago: University of Chicago Press, 1987).9.Michael A.Gomez, Exchanging Our Country Marks: The Transformation of A i-can Identities in the Colonial Antebellum South (Chapel Hill: University of North CarolinaPress, 1998), pp.57 58.10.Walker, No More, No More, pp.ix, xii.11.John Storm Roberts, Latin Jazz: The First of the Fusions, 1880s to Today (NewYork: Schirmer Books, 1999), pp.7 8.12.David E.Estes, The Neo-African Vatican: Zora Neale Hurston s New Orleans, in Literary New Orleans in the Modern World, ed.Richard S.Kennedy, pp.67, 73 (BatonRouge: Louisiana State University Press, 1998).13.Pi s , Old Ship of Zion; Anthony B.Pinn, Varieties of A ican-American Reli-gious Experience (Minneapolis: Fortress, 1998); and Robert A.Orsi, The Madonna of 115thStreet: Faith and Community in Italian Harlem, 1880 1950 (New Haven, Conn.: Yale Uni-versity Press, 1985), idem, ed., Gods of the City: Religion and the American Urban Landscape(Bloomington: Indiana University Press, 1999), and Between Heaven and Earth: The Reli-gions People Make and the Scholars Who Study Them (Princeton, N.J.: Princeton UniversityPress, 2005).Also see Yvonne P.Chireau, Black Magic: Religion and the A ican-AmericanConjuring Tradition (Berkeley: University of California Press, 2003).14.Vincent L.Wimbush, foreword to Pi s, Old Ship of Zion, p.xiv; Zora Neale Hur-ston, Mules and Men (New York: Harper Perennial, 1990); and Michael P.Smith, SpiritWorld (Gretna, La.: Pelican, 1992). Notes to pages 11 16 · 13515.See the KOSANBA The Congress of Santa Barbara Call for Papers for their In-ternational Colloquium VI 2004 Onward/The Gede Family: Life and Death Struggles at Universidad de Puerto Rico.See, too, Turner, Remembering Song, p.ix.1.The Haiti New Orleans Vodou ConnectionThe source of the epigraph is Zora Neale Hurston, The Sanctified Church (New York: Mar-lowe, 1998), p.103.1. Hoodoo is the term for the new, highly secretive magical practice in NewOrleans Vodou that focused on spiritual work for clients and resistance to the religion senemies.2.Zora Neale Hurston, Mules and Men (New York: Harper Perennial, 1990); andidem, Hoodoo in America, Journal of American Folklore 44, no.174 (October December1931): 317 418.3.David Todd Lawrence, Folklore Representation and Extended Context in theExperimental Ethnography of Zora Neale Hurston, Southern Folklore 57, no.2 (2000):120, 125.4.Katie C.Canon, Black Womanist Ethics (Atlanta, Ga.: Scholars, 1988), p.15, backcover.5.Donald H.Ma hews, Honoring the Ancestors: An A ican Cultural Interpretationof Black Religion and Literature (New York: Oxford University Press, 1998), front flap.6.Theophus H.Smith, Conjuring Culture: Biblical Formations of Black America(New York: Oxford University Press, 1994), p.6.7.Anthony H.Pinn, Varieties of A ican-American Religious Experience (Minne-apolis, Minn.: Fortress, 1998), p.1.8.Ibid., p.1, back cover.9 [ Pobierz caÅ‚ość w formacie PDF ]
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.330, he writes:Perhaps I should make it clear to those who have misinterpreted me as simplysaying African religions disappeared in the United States that what I was at-tempting to say is that the distinctiveness of the slave s religious culture lay notin their preservation of Africanisms but in the African perspectives, habits,preferences, aesthetics, and styles with which Africans and their descendantsshaped their religious choices in the very diverse situations and circumstancesof slavery.5.Katherine J.Hagedorn, Divine U erances: The Performance of A o-Cuban Sante-ria (Washington, D.C.: Smithsonian Institution Press, 2001), pp.6, 116 117; and Walker,No More, No More, p.xii.6.David Todd Lawrence, Folkloric Representation and Extended Context in theExperimental Ethnography of Zora Neale Hurston, Southern Folklore 57:2 (2000): 125.7.Donald J.Cosentino, ed., Sacred Arts of Haitian Vodou (Los Angeles: Fowler Mu-seum of Culture History, University of California, 1995).8.Joseph Roach, Cities of the Dead: Circum-Atlantic Performance (New York: Co-lumbia University Press, 1996), pp.xi, xii, 4, 5.According to Walter Johnson, New Or-leans housed the biggest slave market in North America in the nineteenth century, where100,000 men, women, and children were packaged, priced, and sold ; see his Soul by Soul:Life inside the Antebellum Slave Market (Cambridge, Mass.: Harvard University Press,1999), front flap.Thus New Orleans was one of the major cities of the dead where theunspeakable violence and social death of slavery began for thousands of black people inthe modern world (Roach, Cities of the Dead, pp.xi, 4).Roach s perspective overlaps withPaul Gilroy s ideas in The Black Atlantic: Modernity and Double Consciousness (Cambridge,Mass.: Harvard University Press, 1993); Small Acts: Thoughts on the Politics of Black Cultures(London: Serpent s Tail, 1993); and There Ain t No Black in the Union Jack : The CulturalPolitics of Race and Nation (Chicago: University of Chicago Press, 1987).9.Michael A.Gomez, Exchanging Our Country Marks: The Transformation of A i-can Identities in the Colonial Antebellum South (Chapel Hill: University of North CarolinaPress, 1998), pp.57 58.10.Walker, No More, No More, pp.ix, xii.11.John Storm Roberts, Latin Jazz: The First of the Fusions, 1880s to Today (NewYork: Schirmer Books, 1999), pp.7 8.12.David E.Estes, The Neo-African Vatican: Zora Neale Hurston s New Orleans, in Literary New Orleans in the Modern World, ed.Richard S.Kennedy, pp.67, 73 (BatonRouge: Louisiana State University Press, 1998).13.Pi s , Old Ship of Zion; Anthony B.Pinn, Varieties of A ican-American Reli-gious Experience (Minneapolis: Fortress, 1998); and Robert A.Orsi, The Madonna of 115thStreet: Faith and Community in Italian Harlem, 1880 1950 (New Haven, Conn.: Yale Uni-versity Press, 1985), idem, ed., Gods of the City: Religion and the American Urban Landscape(Bloomington: Indiana University Press, 1999), and Between Heaven and Earth: The Reli-gions People Make and the Scholars Who Study Them (Princeton, N.J.: Princeton UniversityPress, 2005).Also see Yvonne P.Chireau, Black Magic: Religion and the A ican-AmericanConjuring Tradition (Berkeley: University of California Press, 2003).14.Vincent L.Wimbush, foreword to Pi s, Old Ship of Zion, p.xiv; Zora Neale Hur-ston, Mules and Men (New York: Harper Perennial, 1990); and Michael P.Smith, SpiritWorld (Gretna, La.: Pelican, 1992). Notes to pages 11 16 · 13515.See the KOSANBA The Congress of Santa Barbara Call for Papers for their In-ternational Colloquium VI 2004 Onward/The Gede Family: Life and Death Struggles at Universidad de Puerto Rico.See, too, Turner, Remembering Song, p.ix.1.The Haiti New Orleans Vodou ConnectionThe source of the epigraph is Zora Neale Hurston, The Sanctified Church (New York: Mar-lowe, 1998), p.103.1. Hoodoo is the term for the new, highly secretive magical practice in NewOrleans Vodou that focused on spiritual work for clients and resistance to the religion senemies.2.Zora Neale Hurston, Mules and Men (New York: Harper Perennial, 1990); andidem, Hoodoo in America, Journal of American Folklore 44, no.174 (October December1931): 317 418.3.David Todd Lawrence, Folklore Representation and Extended Context in theExperimental Ethnography of Zora Neale Hurston, Southern Folklore 57, no.2 (2000):120, 125.4.Katie C.Canon, Black Womanist Ethics (Atlanta, Ga.: Scholars, 1988), p.15, backcover.5.Donald H.Ma hews, Honoring the Ancestors: An A ican Cultural Interpretationof Black Religion and Literature (New York: Oxford University Press, 1998), front flap.6.Theophus H.Smith, Conjuring Culture: Biblical Formations of Black America(New York: Oxford University Press, 1994), p.6.7.Anthony H.Pinn, Varieties of A ican-American Religious Experience (Minne-apolis, Minn.: Fortress, 1998), p.1.8.Ibid., p.1, back cover.9 [ Pobierz caÅ‚ość w formacie PDF ]