Colonial art as ethnic unifier
The use of religious art and architecture for building community among immigrant communities in the United States is a well-documented phenomenon. But how is the use of religious culture adapted for a multinational, multi-ethnic and multiracial immigrant enclave that witnesses high levels of change...
| Main Author: | |
|---|---|
| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
|
| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Taylor and Francis Group
[2017]
|
| In: |
Culture and religion
Year: 2017, Volume: 18, Issue: 4, Pages: 409-427 |
| Standardized Subjects / Keyword chains: | B
Miami, Fla.
/ Multi-cultural society
/ Catholic church
/ Church congregation
/ Religious art
/ Integration (Politics)
|
| RelBib Classification: | AG Religious life; material religion KBQ North America KDB Roman Catholic Church |
| Further subjects: | B
COLONIAL ART
B Neighborhoods B Communities B Catholicism B Miami |
| Online Access: |
Volltext (doi) |
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| 520 | |a The use of religious art and architecture for building community among immigrant communities in the United States is a well-documented phenomenon. But how is the use of religious culture adapted for a multinational, multi-ethnic and multiracial immigrant enclave that witnesses high levels of change and turnover? This paper draws from ethnographic work in the Catholic Church that serves the neighborhoods of Wynwood and Allapattah in Miami, Florida, to demonstrate how one religious community has used religious art and architecture to unite in the face of difference. As ‘landing neighborhoods', these neighborhoods have historically received immigrants from a host of nations in Latin America before they move on to other areas of the city. Through the use of colonial art and architecture, in particular, Corpus Christi Catholic Church was able to build community in these diverse, low-income, and transient neighborhoods. By emphasising commonality of history and practice, faith leaders were able to use this colonial culture as a ‘strategy of action' for creating unity amidst difference. | ||
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| STB | 0 | 0 | |a Art religieux,Art sacré,Art sacré,Arts et religion,Paroisse,Paroisse,Communauté ecclésiale,Communauté ecclésiale,Paroisses,Communauté ecclésiale (motif),Communauté ecclésiale,Société multiculturelle,Société multiculturelle,Église catholique,Église catholique |
| STC | 0 | 0 | |a Arte religiosa,Comunidad eclesial,Comunidad eclesial,Movimiento juvenil católico,Sociedad multicultural,Sociedad multicultural |
| STD | 0 | 0 | |a Arte religiosa,Chiesa cattolica,Parrocchia <motivo>,Parrocchia,Comunità ecclesiastica,Comunità ecclesiastica,Comunità ecclesiastica (motivo),Comunità ecclesiastica,Società multiculturale,Società multiculturale |
| STE | 0 | 0 | |a 多元文化社会,天主教会,罗马公教,宗教艺术,教会会众,教区 |
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| STH | 0 | 0 | |a Католическая церковь (мотив),Многокультурное общество (мотив),Многокультурное общество,Религиозное искусство,Церковная община (мотив),Церковная община |
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