April 6, 2011
Student #: 996139094
DTS403
Object Study: Statue of Maria Auxiliadora
The study of diaspora refers to the relationship between homelands and host nations from the perspective of those who have moved. These transnational movements of people are the reason for the movements of beliefs, languages, practices, and objects around the globe. Within the study of diaspora there are subcategories that help to gain deeper understanding of diasporic practices. One subcategory is the study of the diasporic lives of objects. Diasporic qualities of objects include: identity, memory, meaning, and social structure. The purpose of the study of diasporic objects is to investigate how objects can connect humans to their homelands by reminding its user of home and its identity. Diasporic objects are vast in shape and form; food, instruments, photos, jewelry, relics, and many more. One could argue any object can be diasporic depending on the association and meaning placed with the object. For this specific object study I have chosen a statue of the Virgin Mary named Maria Auxiliadora ("Mary help of Christians"). The statue is 35cm tall and 10cm wide, the Virgin Mary is holding a child (Jesus) with her left hand and holding a staff with her right hand. Her garments are pink with a light blue cape, goal belt and embroidering on the entire cape. Jesus’ garment is white with a gold border. Both have dark brown hair and a gold crown. Mary’s hair falls down to her lower back and she has a pale face with pink lips. The Virgin Mary is standing on top of a brown base that has a white chip on the bottom right corner. There are also chips on the back, front, and left hand. The statue weighs under one pound and the material is ceramic with wiring keeping it together. Statues such as this are made by throwing clay, molding with hands and then putting the pieces together, or by using a mold. Clay cannot be fired in solid form, so one must hollow the sculpture, then use adhesive mud or wiring to attach its pieces. Then with imprinting tools, or something sharp, the face and other details are made. Once all the details are done, the sculpture can be glazed and then painted with acrylics or other modes the artist may wish to use. This paper will explore the significance the Virgin Mary has on the Catholic Church, educational institutions of Colombia, and in defining femininity. In addition, I will explore how this statue and image of the Virgin Mary have shaped my own feminine and Colombian identity. Now as a diaspora I would like to investigate how this object connects me across time and place. To explore this subject outside of my own experiences, an open ended interview with a member of a diaspora will be conducted.
The Catholic Church, founded by Jesus Christ in the 1st century AD is one of the oldest and most influential institutions of the world that continues to grow. “Catholic presence in the world has grown from 1.045 billion in 2000 to 1.166 billion in 2008, an increase of 11.54%” (Zenit 2010). The Catholic Church is a complex institution with various commandments, rules, and guidelines that are meant to aid Catholics to fulfill a righteous life. A crucial component of the Catholic Church is the veneration and devotion to the mother of Jesus Christ, Virgin Mary. The veneration of Mary is derived from the belief of the Immaculate Conception; through this conception, Mary became pregnant with the Son of God (Jesus) without engaging in sin and maintaining her virginity. Mary is also venerated for her Assumption into heaven; literally, her body and soul ascended to heaven. “The Church's devotion to the Blessed Virgin is intrinsic to Christian worship. The Church rightly honors the Blessed Virgin with special devotion. From the most ancient times the Blessed Virgin has been honored with the title of 'Mother of God’” (CCC 1995: 971). Virgin Mary is a role model for Catholic women:
“She was pious. She was virtuous. She was humble. She was faithful. She was not doubtful. She was ready to be an instrument in the hands of God, even when it seemed that such readiness would bring possible rejection from her fiancé and disgrace from the society. No wonder, she was highly favored and blessed” (Afolaranmi 2008)
When Gabriel the archangel informed Mary she was to conceive a son, without having any physical relations with a man, she did not doubt the power of God to make the impossible happen. To have a baby out of wedlock would mean a life of social rejection. Despite the public shame and other torments, Mary, a humble woman, accepted the will of God. Finally, Mary portrays chastity and purity, which comes under the cardinal virtue of temperance. “All the baptized are called to chastity… All Christ's faithful are called to lead a chaste life in keeping with their particular states of life” (CCC 1995: 2348).
Worship to the Virgin Mary takes many forms: mode of behavior, praying, music, poetry, painting, sculptures, and liturgical feasts. “The liturgical feasts dedicated to the Mother of God and Marian prayer, such as the rosary, an 'epitome of the whole Gospel,' express this devotion to the Virgin Mary” (CCC 1995: 091). In addition to being a role model, the Virgin Mary is venerated with the belief that she will hear the prayers of the faithful and be a mediator between people and God. Catholics also seek Mary for her protection and salvation into heaven. “Her manifold intercession continues to bring us the gifts of eternal salvation . . . Therefore the Blessed Virgin is invoked in the Church under the titles of Advocate, Helper, Benefactress, and Mediatrix” (CCC 1995: 1969). Many saints such as Saint Don Bosco devoted their lives to honoring the Virgin Mary. Don Bosco, a Catholic priest in Italy in the 17th century and founder of the worldwide Salesian movement, had visions of the Virgin Mary. In these visions, Mary asked Bosco to build a basilica that would be named Maria Auxiliadora. Bosco began his movement by educating children of the streets, and eventually formed Catholic schools that were focused on the formation of children into model citizens. The presence of religion in the Salesians schools is substantial; the Church and the schools share the same values and morals (Mowles 1988)
I was born in Colombia, a country that is predominantly Catholic; my mother is a devoted Catholic who, for as long as I can remember, has emphasized the importance of religion, to the point that the Catholic faith has become contingent to the essence of my own identity. The statue of Maria Auxiliadora was a gift from my two brothers on my 12th birthday while we were still living in Colombia. The statue was purchased in Bogotá, Colombia in the neighborhood of La Candelaria at a plaza called Plaza Bolivar. This Plaza has a cathedral and a number of religious stores. The cost of the statue was around 30,000 Colombian pesos, which is around 16 Canadian dollars. The significance of this statue is my association and fond memories of my first school, Colegio de Maria Auxiliadora. The possession of religious objects in my house is incredibly common; my mother would encourage the possession of any religious forms, such as rosaries, paintings, statues, rings, and clothing. In my house alone there is an average of twenty-one religious objects out on display.
Colegio Maria Auxiliadora is part of the Salesian movement, which I attended from kindergarden to grade three. It was a female-only school operated by nuns, whose goal was to educate not only in academics but to follow Bosco’s work. “This is a Catholic institution that educates girls and youth with Saint Bosco fundamentals (reason, religion, love)”(Colegio de Maria Auxiliadora 2008). Extracurricular activities and courses called manuales reinforced the femininity inspired by the Virgin Mary and norms of the Colombian society. Femininity means “having qualities or appearance traditionally associated with women, esp. delicacy and prettiness” (Apple Dictionary 2011). Physical education was not a major part of the curriculum; our type of physical education involved dance and cheerleading. My older sister and I belonged to the cheerleading squad. Every Saturday, a group of twenty or more girls would gather to practice cheers to compete with against other schools. Dancing was an essential practice of the school. At least once a week my grade would attend dance class. The most common choreographed dances we learned were popular songs by the artist Shakira. Apart from the weekly dance classes at the end of the year, the school would mount a large production of dance involving every grade in the school (kindergarden to grade twelve). This event would take place on family day, and it was used as an exhibition of the girls' artistic qualities for display to families and friends. The dances for this particular production were mostly native dances of Colombia such as: Cumbia, Joropo, and Vallenato. Theater is another artistic form the school embraces, not as significantly as dancing, but it is still part of the curriculum. Manuales translates to manuals, work done by hand. Manuales courses included food etiquette, crafts, and sewing. Food etiquette was always a fun class because we got to eat delicious desserts and, while eating, we had to demonstrate proper etiquette: eating slowly, using the right utensils, chewing with our mouths closed, sitting properly, and discussing inappropriate behaviours in order to avoid them in the future. Every year we had a final project, for which every girl completed a handmade craft. I can only remember making two: one was a detailed stitching of a mantelpiece, and the other was a small carpet. Older students made more complicated crafts such as knitted socks and hats. Courses such as manuales ensured Colegio de Maria Auxiliadora’s: aspiration for its students “to partake in a female vocation having the Virgin Mary as a rode model, and obtaining a fundamental education that will let our student excel amongst the rest in order to contribute to the construction of a just society” (Colegio de Maria Auxiliadora 2008). Manuales accentuated and reinforced the model of female behaviour that is accepted, such as the characteristics of a docile housewife. Descriptions of Mary are always of a passive woman that obeyed her instructions; she was also a devoted mother to her son Jesus. The school is not trying to educate the girls to become women with careers, but to become housewives. Sewing and cooking are typical skills of housewives in Colombia. When students get older, these goals of becoming housewives become clearer; knitting clothes for babies is part of their final project, as if they were already knitting clothes for their future offspring. Food etiquette is also used to teach girls how to use their bodies in a feminine way, from how to sit to being a model of acting and speaking. Appropriate lady apparel was enforced, such as the use of uniforms; the majority of the time, we had to wear a kilt instead of pants. Through dancing, we fit into the image that women are the dancers, entertainers, and the subject of the gaze of men. Through this constant practice of femininity we have learned to believe that this is our natural way to behave: because I was born as a female I can perform the natural acts of a female. However, as post-structuralist philosopher Judith Butler points out, we perform gender everyday and this is not a natural process. “There is no nature, only the effect of nature: denaturalization or naturalization” (Butler 1993: 531). Gender is acquired through constant repetition, to become a woman, one does not stop these notions ever…women are constant performers of gender. Colegio de Maria Auxiliadora teaches girls from such a young age to the point it shapes our bodies and minds to perform femininity.
After living in Colombia for twelve years, my parents made the decision to migrate to Canada, as in their opinion, it would be a safer place to live for the rest of our lives. I received the statue the same year we left Colombia. Upon receiving this gift, I was happy and excited to have such a tangible symbol of my childhood. I made a special spot so the statue would be safe from breaking. I also made an effort to remember the special day I received the gift; I glued at the bottom a blank piece of paper where I wrote “From: Juan David and Francisco, To: Catalina on April 2001…In Colombia”. The Maria Auxiliadora School was one of my fondest memories of my life in Colombia. Attending this school meant becoming part of a community, a type of sisterhood. I fondly remember the dances, the crafts, playing at recess, cheerleading, and my teachers. This school did not seem to focus on academics; instead it was a playground for social interaction. My sister also attended this school, and from speaking to her and remembering my old friends, we were extremely proud to attend this institution and were looking forward to becoming alumni. The way this statue could be ‘used’ is through three forms that I am familiar with. One way to use the statue is with prayer cards; the card has a picture of Mary then at the back a small prayer devoted to her. A second use could be to pray with the rosary. A third could be a simple prayer and there are numerous ways in which a person can pray. This particular statue has a feast day on May 24th and on this day in school, we would stop classes to celebrate. Dancing, music, and presentations would be the most common way to celebrate.
In the summer of 2001, my family and I migrated to Canada and the statue traveled with us. A few years went by and I started to forget about the statue; it was also moved away from my room where I did not see it every day. Forgetting the existence of this statue was strictly linked to my slowly retreating concern for religion. We have moved a couple of times in Canada and our last move was to Toronto a year ago. At this time the statue was placed in my room. Before this date I cannot remember associating or interacting with the statue. As I get older I have come to realize that religion does not play the significant role it once did. Perhaps this is linked to the lack of religious life of my new friends and my new home. When I was younger, everyone around me was Catholic. My mother enrolled my siblings and me for youth groups, processions, and church plays; half of my time was spent doing something religious, and most of my friends were part of this religious community. In Canada this was not the case; I attended Catholic schools, but there was nothing overwhelmingly religious about these schools. We occasionally had mass and wore uniforms but that was the extent of the religious aspect. In Canada I had my first encounter with a non-Catholic Colombian and this was a surprise to me. I also met people from different backgrounds with all sort of religions of which I had never heard. Religion became less important and as I got older I became fascinated with learning of other backgrounds and religions and as a result, my own religion was put on the backburner. I began to question why I was religious and if it was my own desire to be a devoted Catholic or not. Now I do not pray on a regular basis and the thought of praying to a statue feels unsettling and futile. I still consider myself a Catholic. I attend mass every Sunday but I do not have the same devotion I once did. My interaction with the statue has changed significantly; I do not use it for its original purpose such as prayer, and devotion to Virgin Mary. However my attachment to the statue has not changed, I still view it kindly, remembering my childhood and my life in Colombia. The statue now stands on a wall shelf in a corner of my room. I plan to keep this statue for the rest of my life and tell the story of its significance.
In the article Material objects as facilitating environments: the Palestinian diaspora by Zeynep Turan, the author argues that objects are able to connect diasporas to their homeland and foster identity. “I argue that objects transmit memory, foster identity, and galvanize individuals” (Turan 2010: 2). I believe the statue of Maria Auxiliadora contains many diasporic qualities such as transmitting memories of Colombia and my childhood. I believe this statue fosters multiple identities such as being Colombian, Catholic, and feminine. These identities are all linked, for me to be Colombian is to have an understanding of religion; this is because so many customs and practices revolve around religion. In addition, to be a religious female means to embody femininity. Virgin Mary is a vital figure of the Catholic faith that has influenced who I have become; both my mother and grandmother were devoted Catholics that encouraged me to be feminine. My mother and my grandmother were the women that helped me grow into becoming a woman. Their motives to do so were their faith and Virgin Mary as the ultimate role model. My feminine identity is who I am and who I want to become: a caring mother, and always a lady in the matter of dress and behaviour. Schamberger, who wrote Living in a material world: object biography and transnational lives, discusses the ability of objects to shape the livelihood of its users. “People, things, practices and ideas, constantly in motion, shape each other” (Schamberger 2008: 276). The statue has done precisely what Schamberger suggests: it has shaped my beliefs and identity and in addition I have shaped the statue’s meaning and function.
Lissette Rosado Ferrari is a Peruvian student at the University of Toronto who has agreed to partake in an interview dealing with questions of femininity and the influence of the Virgin Mary. Ferrari also holds a special attachment to the statue of Maria Auxiliadora, and considers that by praying to the Virgin Mary and pursuing the Catholic faith, she has been able to connect back to her homeland. Religion is the rock, the essence of every aspect of her identity. Devoted Catholic Ferrari views Mary as her role model, a compassionate mother that made religion relatable to humans. Religion has helped her make significant contributions for communities in Canada, such as the Organization of Latin American Students (OLAS). “OLAS is a student group that strives to promote and celebrate Latin American culture… Our ongoing weekly activities are Latin dance lessons, charlas (conversation classes), soccer games, and SALO (tutoring for high school students)(OLAS 2010). Ferrari joined OLAS with the intention of meeting students with similar backgrounds. Overtime she became more concerned with community service projects. Religion was the main motivator for Ferrari’s involvement in community service. “Religion helps me to be mindful of what I do; I become conscious of those who are underprivileged” (Ferrari, personal communication, March 24, 2011). Now Ferrari is the head of the community service department within OLAS and she has gone back to Peru for the summer months to conduct community work. Ferrari is very proud to be part of a community that fosters her Peruvian identity and at the same time her religious identity by allowing her to pursue her ambition to help others. Ferrari and I share a deep bond and attachment to Maria Auxiliadora. While my experiences are more objectified and dependent upon a particular statue, Ferrari’s attachments include a number of religious objects. These are crosses, rosaries, and paintings. Through prayer and the use of these objects Ferrari has been able to connect to religion; her intimacy with religion has driven her to enroll in community services that have connected her to Peru and students of the same diaspora.
The study of diasporic lives of objects provides a new perspective in the study of diasporas. Objects can carry significant meanings and key insights that can provide further personal understanding of diasporic subjects. By observing the statue of Maria Auxiliadora, I was able to explore its diasporic qualities such as spur of Colombian memories, which are encompassed with religion and femininity. It is important to note the power of objects in creating links to the homeland and identity. "Rebalance the relationship between people and things, so that artifacts are not always seen as passive and people as active" (Schamberger 2008:277). The relationship between objects and diasporas are in constant change. Over the lifetime of the object, meanings are able to transform, which leaves an opportunity for new contexts of interaction and interpretation.
Maria Auxiliadora
May 24 Celebrations as Maria Auxiliadora School
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