Overview

At a time when the art of the African diaspora has aroused much general interest for its multicultural dimensions, Mikelle Smith Omari-Tunkara contributes strikingly rich insights as a participant/observer in the African-based religions of Brazil. She focuses on the symbolism and function of ritual objects and costumes used in the Brazilian candomble (miniature """"African"""" environments or temples) of the Bahia region, which combine Yoruba, Bantu/Angola, Caboclo, Roman Catholic, and/or Kardecist/Spiritist elements. An initiate herself with more than twenty years of study, the author is considered an insider, and has witnessed how practitioners manipulate the """"sacred"""" to encode, in art and ritual, vital knowledge about meaning, values, epistemologies, and history. She demonstrates how this manipulation provides Brazilian descendents of slaves with a sense of agency - with a link to their African heritage and a locus for resistance to the dominant Euro-Brazilian culture. Manipulating the Sacred will be of value to students of art history, religion, anthropology, African American studies, and Latin American studies, and to the growing English-speaking community of initiates of African-based religions.

Full Product Details

Author:   Mikelle S. Omari-Tukara
Publisher:   Wayne State University Press
Imprint:   Wayne State University Press
Edition:   illustrated edition
Dimensions:   Width: 15.20cm , Height: 1.30cm , Length: 22.90cm
Weight:   0.355kg
ISBN:  

9780814328521

ISBN 10:   0814328520
Pages:   212
Publication Date:   31 October 2005
Audience:   College/higher education ,  Professional and scholarly ,  Undergraduate ,  Postgraduate, Research & Scholarly
Format:   Paperback
Publisher's Status:   Active
Availability:   Awaiting stock  
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Table of Contents

Reviews

". . . an extraordinarily interesting descriptive study of the history, social context, and practice of the African-Brazilian religion, Candomblé, in Bahia, Brazil. . . . the author describes in detail the symbolism and function of sacred objects and costume in Candomblé and argues persuasively that Candomblé affords initiates a valued link with their African heritage and a locus for resistance to the dominant Euro-Brazilian culture. . . . Omari's study contains a rich body of information not accessible in English and largely unknown by non-initiates of Candomblé."" --Marion Jackson ""Wayne State University"" Manipulating the Sacred is a necessary read for any scholar interested in not only candomblé in Brazil, but other Afro-Atlantic religions as well. It is a noteworthy text that can be used in courses that discuss Afro-Brazilian culture, African diaspora and religion, art history, visual arts, and agency. Omari-Tunkara adds another dimension through her meticulous analysis of the role of art and sacred object as carriers of agentic practices."" -- ""H-Net Reviews"" Manipulating the Sacred is the most focused, single-authored examination of sacred art in Bahian Camdomblé Nagô from as art historical perspective to date. With numerous images, both black-and-white and color, glossary of key terms and glossary of the orixás, in addition to the wealth of information presented in the chapters, Omari-Tunkara's book is a valuable historical tool. Through Manipulating the Sacred, the reader gains a better understanding of the role that choice has played in Candomblé Nagô over the centuries."" -- ""African Arts"""

. . . an extraordinarily interesting descriptive study of the history, social context, and practice of the African-Brazilian religion, Candombl?, in Bahia, Brazil. . . . the author describes in detail the symbolism and function of sacred objects and costume in Candombl? and argues persuasively that Candombl? affords initiates a valued link with their African heritage and a locus for resistance to the dominant Euro-Brazilian culture. . . . Omari's study contains a rich body of information not accessible in English and largely unknown by non-initiates of Candombl?. --Marion Jackson Wayne State University Manipulating the Sacred is a fascinating study of the interconnectedness of art, ritual, and politics in Brazilian Candombl?. The book is remarkable for its comprehensive field data, rigorous scholarship, and rare insights-all reflecting the author's unique status as a scholar/initiate privy to ritual information seldom accessible to most researchers. It is a major contribution to the literature on African diaspora art and religion. --Babatunde Lawal Virginia Commonwealth University, author of The Gelede Spectacle: Art, Gender, and Social Harmony in an African Culture Manipulating the Sacred is a necessary read for any scholar interested in not only candombl? in Brazil, but other Afro-Atlantic religions as well. It is a noteworthy text that can be used in courses that discuss Afro-Brazilian culture, African diaspora and religion, art history, visual arts, and agency. Omari-Tunkara adds another dimension through her meticulous analysis of the role of art and sacred object as carriers of agentic practices. --H-Net Reviews Manipulating the Sacred is the most focused, single-authored examination of sacred art in Bahian Camdombl? Nag? from as art historical perspective to date. With numerous images, both black-and-white and color, glossary of key terms and glossary of the orix?s, in addition to the wealth of information presented in the chapters, Omari-Tunkara's book is a valuable historical tool. Through Manipulating the Sacred, the reader gains a better understanding of the role that choice has played in Candombl? Nag? over the centuries. --African Arts

Manipulating the Sacred is the most focused, single-authored examination of sacred art in Bahian Camdombl? Nag? from as art historical perspective to date. With numerous images, both black-and-white and color, glossary of key terms and glossary of the orix?s, in addition to the wealth of information presented in the chapters, Omari-Tunkara's book is a valuable historical tool. Through Manipulating the Sacred, the reader gains a better understanding of the role that choice has played in Candombl? Nag? over the centuries. --African Arts Manipulating the Sacred is a fascinating study of the interconnectedness of art, ritual, and politics in Brazilian Candombl?. The book is remarkable for its comprehensive field data, rigorous scholarship, and rare insights-all reflecting the author's unique status as a scholar/initiate privy to ritual information seldom accessible to most researchers. It is a major contribution to the literature on African diaspora art and religion. --Babatunde Lawal Virginia Commonwealth University, author of The Gelede Spectacle: Art, Gender, and Social Harmony in an African Culture . . . an extraordinarily interesting descriptive study of the history, social context, and practice of the African-Brazilian religion, Candombl?, in Bahia, Brazil. . . . the author describes in detail the symbolism and function of sacred objects and costume in Candombl? and argues persuasively that Candombl? affords initiates a valued link with their African heritage and a locus for resistance to the dominant Euro-Brazilian culture. . . . Omari's study contains a rich body of information not accessible in English and largely unknown by non-initiates of Candombl?. --Marion Jackson Wayne State University Manipulating the Sacred is a necessary read for any scholar interested in not only candombl? in Brazil, but other Afro-Atlantic religions as well. It is a noteworthy text that can be used in courses that discuss Afro-Brazilian culture, African diaspora and religion, art history, visual arts, and agency. Omari-Tunkara adds another dimension through her meticulous analysis of the role of art and sacred object as carriers of agentic practices. --H-Net Reviews

. . . an extraordinarily interesting descriptive study of the history, social context, and practice of the African-Brazilian religion, Candomble, in Bahia, Brazil. . . . the author describes in detail the symbolism and function of sacred objects and costume in Candomble and argues persuasively that Candomble affords initiates a valued link with their African heritage and a locus for resistance to the dominant Euro-Brazilian culture. . . . Omari's study contains a rich body of information not accessible in English and largely unknown by non-initiates of Candomble.--Marion Jackson Wayne State University Manipulating the Sacred is a fascinating study of the interconnectedness of art, ritual, and politics in Brazilian Candomble. The book is remarkable for its comprehensive field data, rigorous scholarship, and rare insights-all reflecting the author's unique status as a scholar/initiate privy to ritual information seldom accessible to most researchers. It is a major contribution to the literature on African diaspora art and religion.--Babatunde Lawal Virginia Commonwealth University, author of The Gelede Spectacle: Art, Gender, and Social Harmony in an African Culture Manipulating the Sacred is a necessary read for any scholar interested in not only candomble in Brazil, but other Afro-Atlantic religions as well. It is a noteworthy text that can be used in courses that discuss Afro-Brazilian culture, African diaspora and religion, art history, visual arts, and agency. Omari-Tunkara adds another dimension through her meticulous analysis of the role of art and sacred object as carriers of agentic practices.-- H-Net Reviews Manipulating the Sacred is the most focused, single-authored examination of sacred art in Bahian Camdomble Nago from as art historical perspective to date. With numerous images, both black-and-white and color, glossary of key terms and glossary of the orixas, in addition to the wealth of information presented in the chapters, Omari-Tunkara's book is a valuable historical tool. Through Manipulating the Sacred, the reader gains a better understanding of the role that choice has played in Candomble Nago over the centuries.-- African Arts

". . . an extraordinarily interesting descriptive study of the history, social context, and practice of the African-Brazilian religion, Candomblé, in Bahia, Brazil. . . . the author describes in detail the symbolism and function of sacred objects and costume in Candomblé and argues persuasively that Candomblé affords initiates a valued link with their African heritage and a locus for resistance to the dominant Euro-Brazilian culture. . . . Omari's study contains a rich body of information not accessible in English and largely unknown by non-initiates of Candomblé.--Marion Jackson ""Wayne State University"" Manipulating the Sacred is a fascinating study of the interconnectedness of art, ritual, and politics in Brazilian Candomblé. The book is remarkable for its comprehensive field data, rigorous scholarship, and rare insights-all reflecting the author's unique status as a scholar/initiate privy to ritual information seldom accessible to most researchers. It is a major contribution to the literature on African diaspora art and religion.--Babatunde Lawal ""Virginia Commonwealth University, author of The Gelede Spectacle: Art, Gender, and Social Harmony in an African Culture"" Manipulating the Sacred is a necessary read for any scholar interested in not only candomblé in Brazil, but other Afro-Atlantic religions as well. It is a noteworthy text that can be used in courses that discuss Afro-Brazilian culture, African diaspora and religion, art history, visual arts, and agency. Omari-Tunkara adds another dimension through her meticulous analysis of the role of art and sacred object as carriers of agentic practices.-- ""H-Net Reviews"" Manipulating the Sacred is the most focused, single-authored examination of sacred art in Bahian Camdomblé Nagô from as art historical perspective to date. With numerous images, both black-and-white and color, glossary of key terms and glossary of the orixás, in addition to the wealth of information presented in the chapters, Omari-Tunkara's book is a valuable historical tool. Through Manipulating the Sacred, the reader gains a better understanding of the role that choice has played in Candomblé Nagô over the centuries.-- ""African Arts"""

Author Information

Mikelle Smith Omari-Tunkara is an associate professor in the department of art at the University of Arizona.

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