By Birgit Meyer
The critical subject of this quantity is the incorporation of newly obtainable mass media into practices of non secular mediation in various settings, together with Pentecostal-charismatic church buildings and Islamic activities, and using non secular varieties and pictures within the sphere of radio and cinema. in response to a long term cooperation, the participants study the function of faith and media within the emergence and sustenance of latest ‘aesthetic formations’ that entice the physique and the senses, and generate new varieties of binding and moods of belonging in our time.
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Additional info for Aesthetic Formations: Media, Religion, and the Senses (Religion Culture Critique)
I also identified some of the girls from the terreiro choir, who all boosted new, elaborately braided hairdos and wore identical wine red dresses, the color of Xangô. The rest of the audience must have been made up of a significant portion of the clients, members, and affiliates of Ilê Axé Opô Afonjá and—judging from their Bermudas and plastic flip-flops—a great number of people from the local neighborhood. As always, the place was full of gays, people like my hairdresser Adilson (who had alerted me to the event) and his friends, who had come here to have an evening out, to pay their respect to the terreiro, meet up with friends and flirt a bit with strangers.
The particular aesthetic through which the Nazi regime sought to draw citizens into its vision of a Germanic superpower (see Benjamin 1999) is just an extreme example of the use of aesthetic resources by nation-states to envelop citizens in the imagined community of the nation. Scholars have been suspicious about the political use of aesthetics, regarding it as a supreme demagogical tool. While it is of course important to be critical about the ways in which states, and other power regimes, address and form people by appealing to their senses and shaping the material environment, it is high time for social scientists 26 7.
Those who have no knowledge of the secrets ( fundamentos), who have no basis or certainty as to what it is that they are doing. They disfigure everything. They are unscrupulous. The police, the state, the church, they are no longer the enemies of Candomblé. Our enemies are the so called adepts, who disfigure everything and destroy Candomblé. ” 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.
Aesthetic Formations: Media, Religion, and the Senses (Religion Culture Critique) by Birgit Meyer