Folia de reis em Minas Gerais: entre símbolos católicos e ambiguidades africanas = Folia de Reis in Minas Gerais : between Catholic symbols and african ambiguities
This article seeks to understand the relationships between religious narrowing Folia de Reis, expressions related to popular Catholicism (or santorial) and religiosity of African origin. In the field to be researched, the city of Leopoldina, Minas Gerais, there is the Maú’s Folia formed by a black f...
| Otros títulos: | Folia de Reis in Minas Gerais |
|---|---|
| Autor principal: | |
| Tipo de documento: | Electrónico Artículo |
| Lenguaje: | Portugués |
| Verificar disponibilidad: | HBZ Gateway |
| Interlibrary Loan: | Interlibrary Loan for the Fachinformationsdienste (Specialized Information Services in Germany) |
| Publicado: |
2013
|
| En: |
Ciencias sociales y religión
Año: 2013, Volumen: 15, Número: 18, Páginas: 33-55 |
| Otras palabras clave: | B
Religiosidad de matriz africana
B Catolicismo santuario B Juerga de Reyes B Payaso |
| Acceso en línea: |
Volltext (kostenfrei) Volltext (kostenfrei) |
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| 520 | |a This article seeks to understand the relationships between religious narrowing Folia de Reis, expressions related to popular Catholicism (or santorial) and religiosity of African origin. In the field to be researched, the city of Leopoldina, Minas Gerais, there is the Maú’s Folia formed by a black family and Umbanda followers, devotees of St. Sebastian. Among the many rituals, there is the delivery of the flag in a center of Umbanda, held on January 20, feast of St. Sebastian in the Catholic liturgical calendar. Therefore, this Folia is characterized both as a practice of santorial Catholicism, and as Umbanda religious expression. In turn, the clown, character of so much expression and popularity, is understood by the Catholic looking as King Herod, or even the devil, bears analogies with Exu symbolically. The idea that the traces of afri- can-Brazilian religion and santorial Catholicism are intimately linked guides this communication. Through conversations and interviews, analysis of images in the center of Umbanda rituals at Dona Maú’s home, and of Clowns’ fouls, we seek to understand the relevance of the Masked Revelry as a product of this process of cultural synthesis. So, in that context, his marginal position gives rise to the eminence as a representative of this synthesis and as a character of great notoriety and sympathy with assistance. | ||
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| 650 | 4 | |a Juerga de Reyes | |
| 650 | 4 | |a Payaso | |
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