Showing posts with label Santeria. Show all posts
Showing posts with label Santeria. Show all posts

Tuesday, January 20, 2009

Review: The Accidental Santera

"Irete Lazo." NY: Thomas Dunne Books, 2008.
ISBN: 978-0-312-38188-2


Michael Sedano

That's not this author's real name, according to the inside flap of the dust jacket of this interesting novel. The photo of a smiling brown-skinned woman may be Lazo or quién sabe who. "Lazo" in her not pseudonym worked as a scientist, print journalist, announcer  for NPR, and santera. 
And there's the rub. The Accidental Santera describes an agnostic experimental scientist's religious conversion from lapsed Texas Catholic to priestess of the Cuban-Afro religion called Santeria. 

Santeria informs many a novel. From cultural allusions in such work as Leonardo Padura's Havana colors series, to the more typical scary elements of such novels as Alex Abella's scary The Killing of the Saints.

Perhaps owing to the horror-story character of the religion, "Lazo" elects to cloak her actual identity behind that pseudonym. Just as her character, a San Francisco State University professor does.

La Profesora works happily with her third-world students out of an obligation to bring people of color into the racist, sexist, deeply biased world of the hard sciences.

But other than that happiness, the first person narrator is dismal. She and her scientist husband have grown estranged, partially as a result of three miscarriages and their failure to conceive. But he's become an insensitive clod, and she drinks too much. Her BFF, another Latina scientist, offers a comforting shoulder to cry on, as well as a solid point of reference for Gabi's--our narrator--sense of estrangement from her own Latinidad.

Gabriella's crises of culture, relationship, faith, and faithfulness, come to a head at a New Orleans scientific conference. Drinking too much, she picks up a good-looking scientist at the conference party and allows herself to be pulled to the brink of adultery, until too many margaritas drive her to a toilet bowl to puke out her guts.

Having come to this head-spinningly low point in her life, Gabi sits for a santero's reading of the bones at Marie Laveau's voodoo shop, setting Gabi off on a search for identity that eventuates in her initiation as a santera of The Religion.

Stripped to these outlines, The Accidental Santera offers a fulfilling story of academic political bullshit, marriage, fertility, family, and friendship. Less arresting is the author's drive to explain her conversion to Santeria, which requires the novel to assume a pedagogical voice explaining the various terms and personages of The Religion--as Santeria is referred by adherents. Also less involving is the author's--or her editor's--insistence on appositional translation. Say something in Spanish and have it in English in the next clause. Worse, the translation is almost always literal, none of the fun with expression seen in such work as Houston, We Have a Problema. Fortunately, the "Lazo" resists the temptation to use a lot of Spanish but instead tells us a character speaks in Spanish.

Despite these flaws, or perhaps because of them, the novel is an enjoyable reading experience. And, given the allusions to Santeria in so many other novels, The Accidental Santera--including its glossary--will fill several gaps in many a reader's knowledge.

Free Houston, We Have A Problema

After I reviewed Gwendolyn Zepeda's chiclit title, Houston, We Have a Problema, the publisher offered a free copy to the first five La Bloga readers who requested a copy. And that's exactly what La Bloga was happy to do for these friends:

Randy Zuniga
Stanton, Ca

Lauren Bogenberger
Odenton MD

Arnoldo Mata
Pharr TX

Amy Mascareñas
Watsonville, ca

George Luna-Peña
Washington DC 20036

Congratulations to our five friends! I hope they'll read and enjoy the title and send in their own review of the novel, or pass along their copy to other readers to share in the experience.

Know that La Bloga welcomes your reviews of books reviewed here, or other titles that merit La Bloga's attention. Be La Bloga's guest by leaving a comment, or click here to get more information about your invitation to be a La Bloga guest columnist.

Arroba, arroba, arroba.

Last week, La Bloga's Thursday columnist, Lisa Alvarado, introduced Damian Baca's [Mestiza Mestizo] Scripts, Digital Migrations, and the Territories of Writing. Rather than spelling out the feminine and masculine noun forms of the title, Baca elected using the nonsense @ marker to designate both genders. I complained and a commenter with the handle Quetzal, presumably Baca himself, blamed some gente at UC Berkely for the orthography, averring the unpronounceable spelling offers some version of gender inclusivity. 

I disagree. Vehemently. For me, this arroba represents someone's cute idea gone wild. I see the usage as laziness, at best. As I complained, how does a reader pronounce that perversion? Chicanat? Chicanarroba? In any event, the spelling doesn't say what the writer intends, so it's simply an error.

Chicana Chicano writers express inclusivity by writing inclusively. Only slightly less huevón is the -a -o abbreviation, as in "Latina/o", which Quetzal acknowledges as similarly unpronounceable, and characterizes as a "landmine." Sheesh, gente. When approaching a landmine, the only sensible strategy is go around. I'd say that's a safe rule, ¿que no?

Hay les wachamos, folks. Happy inauguration.

Believe It.

When I was a kid, the legal voting age was 21. So I was already in grad school my first presidential election. 1968. Gene McCarthy was my man.

I remember. Bobby and Hubert. Riots in Chicago and Miami. Law and ordure Nixon’s Southern Strategy plays on racial divisions to solidify the still-solid GOP South. Thanx, Dick. In ‘68, Nixon drafts my ass out of grad school. Dick Cheney and Bill Clinton stay home.

You go. Yes you can.

I remember my parents' bitter disappointment when a real estate agent phones us the evening we’d bought a new house. The offer rescinded because Mexicans not allowed to live in that neighborhood.

No you can't.

I remember 4th grade, playing violin for the Superintendent of Schools who pats my head with his greatest compliment, “You are a credit to your race.”

No you can't.

I remember 5th grade, we buy a house and I enroll in a new school. The first week an invitation to a girl's birthday party. Wow, I am amazed that some people rent the entire roller rink—I’d never been inside--to hold private parties. Then the girl phones me and tells me I’m disinvited--Mexicans not allowed in the roller rink on Saturday mornings.

No you can't.

I remember photos and television images, cops using fire hoses to knock people down, attack them with dogs, club them to the ground, because they want to vote.

No you can’t.

I remember bombs. Schwerner. Chaney. Goodman. Evers. QEPD. Troops to open schoolhouse doors.

No you can't.

I remember incredulous men and women peppering me with questions, "What are you?" "Where is your father from?” “What language do you speak at home?" then denying I could possibly be, because I win speech contests.

No you can't.

I remember, all gussied up for fraternity rush, the curious stares from the guys. Why was I bothering? Not welcome.

No you can't.

I remember a voice on television telling me Barack Obama surpasses 270 Electoral Votes and is the 44th President of the United States of America.

Yes we can.

Thursday, December 04, 2008

A Morbid Taste for Bones


Gente, with your indulgence, I offer an excerpt from a yet-to-be-published work, Nine Days Dead. It's a new novel of mine, set  in Chicago, with a cast of characters that include: Natalia Ruiz-Rendon, an anthropologist, Naftali Gonzalez, a Jewish/PuertoRican detective, and Iyaloya, a guardian between the worlds.

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The fever had her now, rolling waves of heat cascaded through her body, fueling this work. The herbs she'd taken were for courage and she burned white hot with it. She asked for fear to be burned away like slag from steel and there was no turning back. No conscience now, no soft hearted little lamb. There was only this minute, this choice.
She placed nine pennies at the entrance to the cemetery, asked permission with head bowed. The round moon, an unblinking eye, lit the path to the newest section of the cemetery.

But she could have found her way without it, as she'd come here, it was muscle memory.
Here the monuments were of thick, polished granite, sculpted and set flush with the ground. There were no ornate pillars with cloth-draped urns, no 19th century statues of winged angels asking blessings from God, no columned mausoleums inscribed with Latin, just headstones with the names of the dear dead. She left the main road and headed down the 15th row, only the slight swish of grass against the soles of her shoes audible.

When she arrived at his grave, she set down the small leather bag and withdrew a change of clothing. Preparing for the ceremony had taken most of the past two weeks. A ritual bath every day for nine days. Meditation before bedtime. Buying nine tiny bottles, filling three with white rum, Holy Water, and Florida Water, one with black coffee, the rest with spring water. Nine votive candles smelling of jasmine, and nine blood red carnations, plus a purple, fringed silk scarf to lay it all out on.

She thought of Florinda, the woman brought from Cuba by her parents as a caretaker while they jetted back and forth from Chicago and Miami, supervising their galleries, opening exhibits, and protecting the family wealth. Natalia Ruiz-Rendon was a good daughter, whose lonely life was made bearable by the daily blandishments of Florinda Cienfuegos. Natalia knew that Flori would do anything in her power to stop her tonight. When Natalia was about fifteen, she found out that Florinda was a priestess of her own House, strong with Oya. She'd eavesdropped on a conversation between her beloved Flori and a visitor who'd come and left tribute for an intercession.
When she'd asked about it, Florinda bluntly told her that this was not for her to know and that to ever speak of it would enrage her parents.

But Natalia prodded until Flori told her about the House, her pledge to Oya, even her true name, Iyaloya. Then with tears welling in her eyes, she begged the young girl to be accept her own path, the life her parents had made for her, and to trust that Flori was doing what she was meant to do as well.
Fifteen years had come and gone since that conversation. Natalia Ruiz-Rendon, never disappointed, never displeased, and shouldered the expectations of her parents and became the youngest PH.D. in anthropology at the University of Miami, and a star at the University of Chicago. But there were dark, liquid secrets that kept pulling her to look where she shouldn't, and when David was killed, her resolve and her promise dissolved. Blood required blood.

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JARRED (A Hoodoo Comedy) closes in just TWO WEEKS - only 8 shows left and they are filling up fast! Purchase your ticket today!

Audiences and critics agree: you've never seen anything like this on stage! Hailed as "deliciously funny" (NewCity) and a "gripping production" that "rings with truth and authenticity. (Chicago Examiner)," JARRED offers an inside peek at what happens when jealously meets witchcraft. Tickets at www.teatroluna.org
Email -- boxoffice@teatroluna.org for more information

You can now donate to Teatro Luna Online! Thanks to paypal, you can help support our mission to Showcase Latina Talent and Honor Latina lives by choosing to donate using any major credit card, your debit card, or paypal account. Your donation will be tax deductible up to the fullest extent of the law.

Make sure you include your address and contact information so we can send you a thank-you letter!

GOT AN OPINION? A STORY? SOMETHING TO SAY?

Then you're just the person we're looking for!

Join Teatro Luna for a FREE PERFORMANCE WORKSHOP at our Logan Square space on Sunday, December 7th from 12-3.

We're starting work on our next show, Restaurant Spanish, and this is your chance to experience our unique ensemble process first hand! You don't have to be Latina, an actor, or a writer to participate - we're looking for people who are willing to jump in and have fun. SPACE IS LIMITED, so please reserve your slot by e-mailing coyapaz@teatroluna.org.



LOOKING FOR A CUTE HOLIDAY GIFT?

Check out these limited edition prayer candles featuring the kinds of saints we all really need: Saint Procrastina, Nuestra Senora Del Cuchi Cuchi, Nuestra Senora of Retail Therapy, Gloriosa Senora de la Mentirita Piadosa, and Santa Escandalosa!

There are five different candles, each featuring one of the cast members of JARRED as one of these amazing Saints! These candles will be on sale at the Box Office through the run of JARRED (A HOODOO COMEDY). The final performance will be December 14, 2008 at 6:00 pm.

After the 14th, you will be able to purchase on our website!

Pricing: $8.00 One Candle, 2 for $15.00, and all five for $35.00

Email boxoffice@teatroluna.org for more information!



Lisa Alvarado

Thursday, May 15, 2008

Palabra Pura's May Delights y MUCHO MÁS

Adrian Castro
Come and savor el sabor de Palabra Pura this month! And for those who don't know about this cutting edge poetry joint, dear readers, peruse this.

Time: Doors open at 8:00 PM, Reading begins at 8:30 PM
Cost: Free admission. 21 and over show. Location: California Clipper, 1002 N. California, Chicago


Adrian Castro
is a poet, performer, and interdisciplinary artist. Born in Miami, a place which has provided fertile ground for the rhythmic Afro-Latino style in which he writes and performs. Articulating the search for a cohesive Afro-Caribbean-American identity, Castro honors myth on one hand and history on the other. He addresses the migratory experience from Africa to the Caribbean to North America, and the eventual clash of cultures.

Castro creates a circular motion of theme, tone, subject matter, style, and cultural history, giving rise to a fresh illuminating archetypal poetry. These themes reach their climax in their declamacion – the call-and-response rhythm of performance with a whole lot of tun-tun ka-ka pulse. He is the author of Cantos to Blood & Honey, (Coffee House Press, 1997), Wise Fish: Tales in 6/8 Time, ( Coffee House Press, 2005), and has been published in many literary anthologies. He is the recipient of the State of Florida Individual Artist Fellowship, NewForms Florida, the Eric Mathieu King award from the Academy of American Poets, NALAC Arts Fellowship, and several commissions from Miami Light Project and the Miami Art Museum.

He has performed with many dancers and actors including Chuck Davis and African American Dance Ensemble, Heidi Duckler and Collage Dance, and Keith Antar Mason and the Hittite Empire. The New York Times Book Review recently selected Wise Fish as an editor’s choice saying, “Sinuous, syncopated verses about the Caribbean melting pot.” And “…even a cursory glance suggests his poems—which seem to be trying to dance off the page…would truly come alive on the stage. “Wise Fish is a serious and seriously enjoyable contribution to our flourishing Latino literature.” Adrian Castro is also a Babalawo and herbalist.


Febronio Zataraín
was born in Sinaloa, Mexico, and studied sociology at the University of Guadalajara. In 1989 he emigrated to Chicago. Since 1992 he has been involved in launching and collaborating on a number of literary workshops and cultural magazines including , Fe de erratas. These various efforts finally crystallized in Contratiempo, a literary magazine that first appeared in May, 2003, and today is one of the prominent Spanish-language magazines in the U.S.
Febronio has published the following books: Faltas a la moral, Editorial Moción, 1991 (stories and scripts). Desesperada intencón y otros escritos, Editorial Universidad de Guadalajara, 1994 (poems). Y nos vinimos de mojados (in collaboration with Raúl Dorantes), 2007, Editorial UACM (essays and chronicles).

His work has been included in the following anthologies:
Voces en el viento, edited by John Barry, Editorial Esperante, 1999. En el ojo del viento, John Barry, 2004. Poesía viva de Jalisco, edited by Raúl Bañuelos, Dante Medina, and Jorge Souza, 2004, Secretaría de Cultura de Jalisco.


More News From De la Torre Gallery -- Chicago


New Mural Commission!
Columbia Explorer Elementary

DeLaTorre will be creating a mural that will be 168” X 288” and will have three layers and images relating to hope and the ability to rise above faceless crowds and imagine the endless possibilities through the arts and education. Unveiling TBA.


1200 West 35th Street - 3rd Floor
Chicago, IL 60608

Tel: 773-927-7030

or e-mail us at:
luis@delatorrearts.com
or
dpando@delatorrearts.com


Y MÁS En Chicago







Lisa Alvarado

Thursday, September 20, 2007

Santeria Garments and Altars: Ache is All



Santeria Garments and Altars is a literate, accessible, beautifully photographed book by a man who is a member/initiate in a house of Oshun. Its subtitle is, ‘Speaking Without A Voice.’ How appropriate! The emphasis is the striking photographs of the variety of altars to the different deities, members of a variety of houses preparing for, or engaged in aspects of worship.

By way of background information -- A ‘house’ is a group of devotees of a particular god or goddess under the leadership of a ‘babalawo’, or priest/priestess. Oshun is another one of the Seven African Powers who represents the archetypical female principle and the power of eros. Interestingly enough, abstinence or asexuality, and a virginal principle of female sexuality has no icon, nor any particular social importance.

Another interesting feature is that the author is a male practitioner, much in the tradition that the gods choose individuals to serve them regardless of gender. My own Catholic upbringing was full of gender separation, nuns as brides of Christ, servants of the male hierarchy, etc. While there are some tasks separated by sex, it does not appear to be as rigid, as attenuated as in a Christian/Catholic context.

One off the major tenets of this religious practice is the construction of altars, which every believer is required to do. There’s a synthesis between aesthetic and spiritual significance. It is considered one’s duty to create, as service to the deity to whom one has pledged oneself. A further illustration of the nexus between creativity and belief is the Santeria/Yoruba belief in ‘ache’, the universal life force present in all things. Each devotee is assumed to have within them the power to create a beautiful altar, one infused with ‘ache.’

In my performance pieces, there are ‘anchor ‘ points--static elements that have life infused into them. (In REM/Memory, there is a central, supine figure, hidden in a mass of blankets, who comes alive as the piece starts, and the nightmare begins. In Resurgam, a chaos of white fabric is stripped away to reveal a captive figure who finds release as the piece begins.) I see a similarity between a finished altar containing ‘ache,’ and a performance’s ‘anchor’ pieces being the place where it all comes alive, more specifically, where it reflects at least the possibility of sacred ritual.

There are several points of connection for me here. When the author created an altar to Oshun, it was clear that it could also be seen as a ‘site-specific installation.’ Size of the space, mood of the space, prominent observation points are all taken into consideration. These are the same consideration I make with each piece, the same considerations any installation artist might make.

In the design of an altar dedicated to Oshun, ‘found’ elements are brought into the piece that symbolize her attributes. Since Oshun represents eros, obvious choices illustrate sensuality. Honey, honeycombs, silks and laces are standard items in such an altar. I constantly bring found items from daily life into performances, hoping to create common imagery for myself and the audience as it unfolds . In Resurgam, during the 'communion’ section, I offer a papaya sliced in half to the audience, sharing its womb shape with them as the symbol of The Living Body--juicy, ripe, the source of all things, ever replenishing.

Lastly, I want to comment on the Santeria idea of ‘coolness.’ Essentially, it is the principle of balance, harmony, a reflection of the connectedness of all things. An altar, no matter how ornate, is not considered ‘cool’ if it does not have these attributes.

Even though my approach is spare, I try to layer things enough to suggest complicated ideas and experiences. It's work with a consistent point of view and root motifs that I try to communicate in the deepest possible way. Hopefully, what emerges is interconnectedness between myself, the audience, and a unifying force that exists in the moment of performance, a force that I believe is Spirit.


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About the author:



Dr. Flores-Peña was born in San Juan, Puerto Rico. Studies: University of Puerto Rico, B.A, Catholic University of Puerto Rico, MA. Ed. UCLA M.A and Ph.D. Publications and lectures on Afro-Caribbean Ritual Art and Afro-Cuban religious cultures and Latino Folklore. Lecturer at WAC, Center for Afro-American Studies, and Adjunct Professor at Otis College of Art and Design.

ISBN-10: 087805703X
ISBN-13: 978-0878057030



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News from our New York friends:

Tuesday, September 25th @7pm
ACENTOS Bronx Poetry Showcase
The Uptown's Best Open Mic and Featured Poets
Tomás Riley & Leticia
Hernández,
Hosted by John Rodriguez


Y que gente??? We are still doing it strong in the Bronx and we have no intentions of stopping. Well, maybe when we are dead but until then, aqui estamos. Come out next Tuesday to hear the wonderful poetry of two visiting poets. So you know we have to give them a warm welcome.

Tomás Riley is a poet, writer, educator and a veteran of the Chicano spoken word collective The Taco Shop Poets (TSP). A finalist for the 2004 California Voices Award from Poets & Writers Magazine, his first book Mahcic debuted on Calaca Press in December 2005.

Leticia Hernández has presented her work throughout the country and in El Salvador at venues such as the Nuyorican Poets Cafe, Yerba Buena Center for the Arts, Highways, and the Guild Complex . Her first chapbook of poetry, Razor Edges of my Tongue, is available from Calaca Press. A Ph.D. candidate in Literature, she has taught Women Studies and Latino Literature classes at UPENN and San Francisco State University. She has worked with youth and community based organizations for over fifteen years and is currently the Executive
Director of GirlSource, a community-based organization that supports young women in San Francisco.

The Bruckner Bar and Grill
1 Bruckner Boulevard (Corner of 3rd Ave)
6 Train to 138th Street Station
Hosted by JOHN RODRIGUEZ
FREE! ($5 Suggested Donation)

Coming from MANHATTAN:
At the 138th Street Station, exit the train to your left, by the last car on the 6. Go up the stairs, to your right, to exit at LINCOLN AVENUE. Walk down Lincoln to Bruckner Blvd, turn right on Bruckner. Walk past the bike shop. The Bruckner Bar and Grill is at the corner: One Bruckner Blvd., right next to the Third Avenue Bridge.

Coming from THE BRONX:
By Train:

At the 138th Street Station, exit to your RIGHT, by the FIRST car on the 6. Go up the stairs, to your right, to exit at LINCOLN AVENUE. Walk down Lincoln to Bruckner Blvd, turn right on Bruckner. Walk alongside the bridge, past the bike shop. The Bruckner Bar and Grill
is at the corner: One Bruckner Blvd., right next to the Third Avenue Bridge.

By Bus:
Bx15 to Lincoln Ave. and Bruckner Blvd. Walk one block west, past the bike shop, to the Bruckner Bar and Grill. Bx1, Bx21, Bx32 to 138th and 3rd Ave. Walk five blocks south along
the left side of 3rd Avenue to the end (Bruckner and 3rd). The Bruckner Bar and Grill will be on the corner.

For more information, please call Fish Vargas 917-209-4211.

For the Acentos Crew
Fish Vargas

Lisa Alvarado