The artistic-religious performances of the San Baltazar festival (Corrientes, Capital): characteristics and space-time transformation.

The festival of San Baltazar began in the Viceroyalty of the Río de la Plata (17th century) when the Catholic Church and power groups offered enslaved Africans permission to perform native music and dances without being punished. For this, they had to create brotherhoods in honor of San Baltazar or...

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Autor principal: Cavalieri, Ana Belén
Formato: Artículo revista
Lenguaje:Español
Publicado: Centro de Estudio Sociales. Universidad Nacional del Nordeste 2024
Materias:
afro-descendants
public space
art
afrodescendientes
espacio público
arte
Acceso en línea:https://revistas.unne.edu.ar/index.php/dpd/article/view/7500
Aporte de:
Revistas UNNE - Universidad Nacional del Noroeste (UNNE) de Universidad Nacional del Nordeste
id I48-R154-article-7500
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spelling I48-R154-article-75002024-07-18T20:54:04Z The artistic-religious performances of the San Baltazar festival (Corrientes, Capital): characteristics and space-time transformation. Las performances artístico-religiosas de la festividad de San Baltazar (Corrientes, Capital): características y transformación espacio-temporal Cavalieri, Ana Belén afro-descendants public space art afrodescendientes espacio público arte The festival of San Baltazar began in the Viceroyalty of the Río de la Plata (17th century) when the Catholic Church and power groups offered enslaved Africans permission to perform native music and dances without being punished. For this, they had to create brotherhoods in honor of San Baltazar or San Benito de Palermo. In 1994, in the city of Corrientes (Argentina), San Baltazar brotherhood was refounded to publicly honor him every January 5 and 6 in the Camba Cuá neighborhood, turning the public space into the scene of two artistic-religious performances called “Salute to the saints of the neighborhood” and “Torch Procession”. Taking into account what was observed, interviewed and recorded photographically and audiovisually between the 2016 and 2020 editions, this article aims to understand, from the description of artistic-religious performances, how it is transformed from public space to sacred space. And, in this way, realize the important role that drums and percussionists have in establishing and transforming space-time from public/everyday to sacred during artistic-religious performances. La festividad de San Baltazar surge en el Virreinato del Río de la Plata (siglo XVII), cuando la Iglesia católica y los grupos de poder ofrecen a esclavizados africanos un permiso para ejecutar músicas y danzas originarias sin ser castigados. Para esto, ellos debían crear cofradías en honor a San Baltazar o San Benito de Palermo. En 1994, en la ciudad de Corrientes (Argentina) se refundó la cofradía de San Baltazar para homenajearlo de forma pública cada 5 y 6 de enero, en el barrio Camba Cuá ("cueva de negros" en guaraní), convirtiendo el espacio público en escenario de dos performance artístico-religiosas denominadas Saludo a los santos del barrio y Procesión de las antorchas. Tomando en cuenta lo observado, entrevistado y registrado de forma fotográfica y audiovisualmente entre las ediciones 2016 y 2020, este artículo tiene como objetivo comprender, a partir de la descripción de las performances artístico-religiosas, cómo se transforma de espacio público a espacio sagrado. Y, de esta forma, dar cuenta del rol importante que tienen los tambores y percusionistas para establecer y transformar el espacio-tiempo público/cotidiano a sagrado durante las performances artístico-religiosas. Centro de Estudio Sociales. Universidad Nacional del Nordeste 2024-07-18 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Artículo evaluado por pares text/html application/pdf https://revistas.unne.edu.ar/index.php/dpd/article/view/7500 10.30972/dpd.13217500 De Prácticas y Discursos; Vol. 13 Núm. 21 (2024) 2250-6942 spa https://revistas.unne.edu.ar/index.php/dpd/article/view/7500/7122 https://revistas.unne.edu.ar/index.php/dpd/article/view/7500/7123 http://creativecommons.org/licenses/by-nc/4.0
institution Universidad Nacional del Nordeste
institution_str I-48
repository_str R-154
container_title_str Revistas UNNE - Universidad Nacional del Noroeste (UNNE)
language Español
format Artículo revista
topic afro-descendants
public space
art
afrodescendientes
espacio público
arte
spellingShingle afro-descendants
public space
art
afrodescendientes
espacio público
arte
Cavalieri, Ana Belén
The artistic-religious performances of the San Baltazar festival (Corrientes, Capital): characteristics and space-time transformation.
topic_facet afro-descendants
public space
art
afrodescendientes
espacio público
arte
author Cavalieri, Ana Belén
author_facet Cavalieri, Ana Belén
author_sort Cavalieri, Ana Belén
title The artistic-religious performances of the San Baltazar festival (Corrientes, Capital): characteristics and space-time transformation.
title_short The artistic-religious performances of the San Baltazar festival (Corrientes, Capital): characteristics and space-time transformation.
title_full The artistic-religious performances of the San Baltazar festival (Corrientes, Capital): characteristics and space-time transformation.
title_fullStr The artistic-religious performances of the San Baltazar festival (Corrientes, Capital): characteristics and space-time transformation.
title_full_unstemmed The artistic-religious performances of the San Baltazar festival (Corrientes, Capital): characteristics and space-time transformation.
title_sort artistic-religious performances of the san baltazar festival (corrientes, capital): characteristics and space-time transformation.
description The festival of San Baltazar began in the Viceroyalty of the Río de la Plata (17th century) when the Catholic Church and power groups offered enslaved Africans permission to perform native music and dances without being punished. For this, they had to create brotherhoods in honor of San Baltazar or San Benito de Palermo. In 1994, in the city of Corrientes (Argentina), San Baltazar brotherhood was refounded to publicly honor him every January 5 and 6 in the Camba Cuá neighborhood, turning the public space into the scene of two artistic-religious performances called “Salute to the saints of the neighborhood” and “Torch Procession”. Taking into account what was observed, interviewed and recorded photographically and audiovisually between the 2016 and 2020 editions, this article aims to understand, from the description of artistic-religious performances, how it is transformed from public space to sacred space. And, in this way, realize the important role that drums and percussionists have in establishing and transforming space-time from public/everyday to sacred during artistic-religious performances.
publisher Centro de Estudio Sociales. Universidad Nacional del Nordeste
publishDate 2024
url https://revistas.unne.edu.ar/index.php/dpd/article/view/7500
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first_indexed 2024-08-21T22:36:45Z
last_indexed 2024-08-21T22:36:45Z
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