By Birgit Meyer
The important subject of this quantity is the incorporation of newly available mass media into practices of spiritual mediation in a number of settings, together with Pentecostal-charismatic church buildings and Islamic events, and using non secular types and photographs within the sphere of radio and cinema. in line with a long term cooperation, the members research the position of faith and media within the emergence and sustenance of recent ‘aesthetic formations’ that entice the physique and the senses, and generate new forms of binding and moods of belonging in our time.
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Additional resources for Aesthetic Formations: Media, Religion, and the Senses (Religion Culture Critique)
174) It is astonishing just how much of this can be pointed out in Ilê Axé Opô Afonjá’s answer to the perceived threat of the simulacrum. Time and again, the terreiro shows vigorous attempts to “draw the line,” to instruct the public at large that “Candomblé is not a matter of opinion” but “a religious reality that can only be realized within the purity of its propositions and rituals” (Mãe Stella, in Campos 2003, back cover). This striving for “purity” takes the form of an antisyncretistic ideology that seeks to restore Candomblé to its African origins.
The more the born-again community spreads out and takes in, the more it faces the challenge to stay apart by drawing boundaries that are always already destabilized by its drive to expand. Similarly, as Marleen de Witte (Chapter 8) Introduction 21 points out, the ICGC faces the difficulty of converting the broad public to be reached out there into audiences, and to touch these audiences in such a way that they are prepared to become part of the church community, rather than merely attending church services as clients in search of health and wealth.
39 are] fanatics in other religions also, but they do not attack us. (Mãe Stella, in Campos 2003, 60) One can easily see what lies at the heart of Mãe Stella’s concerns. In her perception the Candomblé of the public sphere is moving eerily close to what Jean Baudrillard (2001) would call a simulacrum. ” They have become a reality on their own, producing—in the way of the simulacrum—their own reality effects. Numerous examples come to mind: Joãozinho da Goméia, a priest from Salvador who already in the 1950s stirred up the nightlife in Rio de Janeiro by taking his troupe of initiates to perform their rituals and dances in fancy nightclubs (cf.