Our Lady of Guadalupe in Guadeloupe and the Role of Sound in Spirituality

Our Lady of Guadalupe in Guadeloupe and the Role of Sound in Spirituality by Andrea Diaz-Sandoval
Introduction

Our Lady of Guadalupe holds a significant place in the spiritual and cultural landscape of Guadeloupe, a Caribbean archipelago where Catholic traditions intertwine with vibrant local Creole practices. This essay explores how sounds particularly in the context of a complex and evolving visual representation, shapes religious experience, community cohesion and cultural identity in Guadeloupe. By analyzing the source accounts of devotion to Our Lady of Guadalupe focusing on auditory elements such as hymns, sermons, processions, and informal prayers and applying the theoretical frameworks of Michel Chion’s “acousmatic sound” and Roland Barthes’ “grain of the voice,” this analysis reveals how sound carries history, memory, resistance and devotion across generations constructing a powerful sense of the sacred that both reinforces and transcends the visual image.

Background/Context

Guadeloupe’s religious landscape is a product of its complex and often history marked by French colonization, the brutal enslavement of Africans and the later blending of cultures. Catholicism introduced by the French colonizers was not simply imposed upon the enslaved population but rather interacted in complex ways with existing African spiritual traditions. This interaction gave rise to a unique and dynamic form of Creole Catholicism characterized by syncretism and adaptation. The enslaved Africans, while forced to adopt the outward forms of Catholicism, often kept elements of their ancestral beliefs and practices, reinterpreting Catholic figures and rituals through an African lens. The image of Our Lady of Guadalupe originated in Mexico and then arrived in Guadeloupe within this context of cultural exchange and adaptation. Unlike in Mexico where the image holds a fixed and dominant visual presence, in Guadeloupe, its interpretation and visual representation became more fluid and localized. The image was not rejected, but its meaning was reconfigured alongside other sensory experiences, particularly the auditory. This negotiation allowed for a more dynamic form of worship, one that resonated with the lived experiences of the Guadeloupean people.

The Sound of Faith: An Analysis of a Guadalupe Hymn

The devotion to Our Lady of Guadalupe in Guadeloupe finds a powerful auditory expression in songs such as the one with the simple title, ‘Lyrics.’ The opening lines, ‘You are the fountain of my life / Under your shadow, and in your protection, / I fear no evil, no pain, no worry,’ immediately establish Mary as a source of fundamental sustenance and security for the believer. This sense of reliance is particularly significant in a context shaped by the historical trauma of colonialism and slavery, where faith often served as a crucial anchor. The invocation, ‘Maria, O most merciful Mother / Gentle virgin, with the name, Guadalupe,’ directly links the universal Marian devotion with the specific apparition and its name, grounding the Guadeloupean veneration within the broader Catholic tradition.

The verse, ‘On a mountain, we find roses in winter, / All the world, has been touched by your love,’ directly references the miraculous roses of Tepeyac, connecting the local devotion to the foundational narrative. This shared story fosters a sense of spiritual unity with the wider Catholic world while its reiteration in song within Guadeloupean communities reinforces its local importance. The refrain, ‘You, are the star of the ocean / My boat is small, and the waves are so high / But with you to guide me, I’ll reach my homeland,’ employs potent maritime imagery that would deeply resonate with the island culture of Guadeloupe. The ‘small boat’ navigating ‘high waves’ can be interpreted as a metaphor for the challenges of life, with Mary as the guiding ‘star’ leading to a spiritual ‘homeland.’ The act of the community singing this refrain together creates a powerful ‘acousmatic’ experience, where individual voices blend into a collective expression of hope and trust. The shared ‘grain’ of their voices, carrying the weight of their history and cultural identity, imbues the sonic landscape of devotion with a unique resonance.

The lines ‘You, are the dawn of a new day / For you give birth to the Son of the Father / All of my lifetime. I’ll walk beside you’ connect Mary’s role to the central tenets of Christian faith, reinforcing her significance as the mother of Christ and expressing a lifelong commitment. The singing of these lyrics, imbued with personal and communal faith, contributes to a rich auditory tapestry that both reinforces and transcends the visual image of Our Lady of Guadalupe, carrying history, memory, and devotion across generations in Guadeloupe.

Analysis: The Sonic Construction of Devotion

Our Lady of Guadalupe holds deep spiritual and cultural significance particularly in Guadeloupe, where her veneration reflects a blend of Catholic traditions and local Creole practices. The devotion to Our Lady of Guadalupe in Guadeloupe is a phenomenon rooted in the island’s history of colonization, slavery, and cultural exchange. The arrival of Catholicism with European colonizers brought about a transformation of the religious landscape, but African and Indigenous traditions persisted which often blending with and influencing the dominant faith. Jeanette Favrot Peterson’s work provides crucial framework for understanding this. As Peterson mentions, the image of Guadalupe itself has been interpreted in multiple ways functioning “as a symbol of freedom for the oppressed native populations”(pp 2) This symbolism is central to understanding how devotion functions in Guadeloupe where it navigates a delicate balance between colonial legacies and the assertion of cultural identity. The image therefore is not static but dynamic and capable of carrying different meanings for diverse groups at different times. Peterson argues that Guadalupe’s image is not a monolithic entity but rather a site of negotiation (pp 7) where different groups project their own understandings and aspirations. This inherent ambiguity, as Peterson argues, allows the image to still be relevant and powerful across diverse contexts.

Dario Gamboni’s study of the “Virgen del Metro” in Mexico City, while geographically distinct, offers valuable insights into this process. Gamboni highlights how the image of Guadalupe can become embedded in everyday life and cultural expressions of the people. Acquiring new meanings and serving diverse social functions. This phenomenon is also clear in Guadeloupe where the image resonates with the lived experiences of the Afro-Caribbean population, expressing a sense of creolization and hybridity. Sound played a crucial role in this syncretism. Music, song, and oral traditions were central to African and Indigenous religious practices. These sonic elements were not just aesthetic additions, they were fundamental to cultural values, historical memory, and spiritual beliefs. They provided a means of cultural survival and resistance, allowing enslaved people and their descendants to keep a connection to their heritage in the face of oppression. The sonic landscape of Guadeloupean religious practice is a testament to the resilience and adaptability of its people.

Jeanette Favrot Peterson emphasizes the image’s ability to embody and negotiate complex historical and social forces. Peterson discusses how the image has been used both to legitimize colonial power and to inspire movements for social justice. This is important for understanding its significance in Guadeloupe, where colonialism continues to shape cultural and religious practices. As Peterson argues, the image’s power lies in its ability to be reinterpreted by different groups. This appropriation extends into the sonic realm, as different communities use music and voice to express their relationship to the divine figure. Sound, like the image, can be a site of contestation and negotiation. The acousmatic nature of some religious sounds, as described by Michel Chion, are relevant here. Chion’s concept of acousmatic sound, sound heard without seeing its source helps understand how the voice of a preacher, the sound of a bell, or the chanting of a hymn can create a sense of spiritual presence that transcends the physical image of Our Lady of Guadalupe. The sound becomes a powerful force, carrying meaning and emotion that may not be immediately visible or easily controlled by dominant power structures. In Guadeloupe, where religious practices often occur in communal settings, the acousmatic voice can create a powerful sense of collective identity and shared experience. Peterson’s analysis of the image as a symbol of cultural identity also connects to Roland Barthes’s concept of “the grain of the voice.” Barthes describes “the grain” as the materiality of the voice, its unique texture and quality, which carries the speaker’s body and history. In the context of Guadalupe devotion, the “grain” of the voices of worshippers, singers, and preachers becomes a vehicle for expressing cultural identity. The specific rhythms, melodies, and vocal styles associated with Guadeloupean music and song carry the history and experiences of the community, expressing both faith and cultural heritage. Even in written texts like Peterson’s, we can infer the importance of the spoken and sung words. When Peterson discusses the ways in which the image resonates with different groups, we can infer how those different groups might sound when expressing their devotion. The image is a site of cultural negotiation, then the sounds associated with it are also part of that negotiation. The unique vocal timbres and musical inflections become a form of embodied knowledge, transmitting cultural values and historical narratives across generations.

“The Story of the Virgin of Guadalupe,” as presented in The American Yawp Reader and derived from Luis Lasso de la Vega’s account offers another crucial lens through which to examine the role of sound. The text refers to the sonic dimensions of the Guadalupe narrative. The understanding of the sonic dimensions within the Guadalupe narrative is significantly shaped by the primary account presented in The American Yawp Reader, derived from the work of Luis Lasso de la Vega. Lasso de la Vega (1603-1660), a Mexican-born criollo priest and lawyer of the 17th century, held a significant position within the religious landscape of New Spain. His background as a criollo might offer a particular lens through which he interpreted the events, potentially reflecting the perspectives and concerns of the locally born Spanish population. His academic background, including a bachelor’s degree and legal training at the University of Mexico, suggests a level of intellectual rigor and familiarity with both secular and canon law, which could have influenced his approach to documenting the miraculous events.

Appointed vicar of the Tepeyac sanctuary in 1647, Lasso de la Vega demonstrated a clear commitment to the site of the apparition, even overseeing the rebuilding of the first chapel. This direct connection to Tepeyac for over a decade would have provided him with firsthand knowledge of the local devotion and the stories surrounding it. His later promotion to the cathedral chapter in 1657 further underscores his standing within the Catholic Church in Mexico. His writings as noted by historical records, reveal a ‘great zeal for the Catholic faith and expertise in the Nahuatl language.’ This linguistic proficiency is particularly significant as the Virgin of Guadalupe is said to have spoken to Juan Diego in Nahuatl, highlighting Lasso de la Vega’s potential ability to engage with and interpret indigenous perspectives on the event, even if his primary aim was to promote the Catholic faith. Therefore, when analyzing the sonic elements within Lasso de la Vega’s account, such as the description of the Virgin’s voice and the ringing of bells. It is crucial to consider his background as a criollo priest deeply invested in the Catholic faith and knowledgeable about the local context, including the Nahuatl language. His account, while foundational, is shaped by his specific historical, social, and religious position.

The descriptions of the Virgin’s voice and the miraculous events are likely to have been conveyed orally and through song in popular devotion. The act of narration itself carries a sonic dimension, as the story would have been told and retold, shaping its meaning and impact through the performative aspects of storytelling. The text also mentions the ringing of bells, a significant sonic element in Catholic tradition, which would have marked important moments in the Guadalupe story and its associated rituals. The inclusion of these sonic details, even in a written account, underscores the importance of sound in shaping the reception and transmission of the Guadalupe devotion. The carefully crafted auditory landscape within Lasso de la Vega’s narrative of Our Lady of Guadalupe’s apparition likely resonated in various ways as the devotion spread and took root in diverse cultural contexts like Guadeloupe. The initial “singing of varied beautiful birds” atop Tepeyac, signaling a sacred space, might have found echoes in Guadeloupe’s own rich soundscape, where natural sounds often intertwine with spiritual experiences. The tender and courteous voice of the Virgin, addressing Juan Diego with familiarity, could have influenced the intimate and personal nature of prayers and hymns directed towards her in Guadeloupean Creole Catholicism. The emphasis on dialogue and spoken communication in the original account may have further underscored the importance of oral traditions and personal testimonies within Guadeloupean religious practices, where stories of faith and divine encounters are often shared within communities. While the specific language and cultural nuances would have evolved, the underlying power of the Virgin’s reassuring voice and the significance of her revealed name would likely have carried across cultural boundaries, finding expression in Guadeloupean prayers and songs. The repetition of the name “Our Lady of Guadalupe” in Creole prayers and hymns, for instance, would create a sonic link to the original apparition while being integrated into the unique linguistic “grain” of the local voice. Furthermore, the emotional impact conveyed through the auditory elements in Lasso de la Vega’s narrative, the wonder of the birdsong, the comfort in the Virgin’s tone, could have contributed to the emotional depth found in Guadeloupean devotional music and communal singing, reinforcing the “acousmatic” experience of the sacred within the community. The interplay between the original sonic narrative and the evolved auditory practices in Guadeloupe demonstrates how a foundational story, rich with sensory details, can inspire and shape the spiritual lives of diverse communities across time and space. Peterson’s analysis of the image as a symbol of cultural memory suggests that this memory is not only visual but also sonic. Stories, songs, and prayers passed down through generations carry the weight of history and experience, shaping the community’s understanding of itself and its place in the world. These oral traditions are often performed, embodying the grain of the voice and creating a powerful sense of connection to the past. In the context of Guadalupe devotion these sonic expressions may serve to reinforce the image’s symbolic power, grounding it in the lived experiences of the community and providing a sense of continuity with ancestral traditions. The element of resistance is key. Peterson discusses how the image has been used in movements for social justice. This resistance is not only visual but also sonic. Songs of protest, prayers for liberation, and the very act of communal singing can be forms of resistance against oppression. The grain of voices united in song can create a powerful sense of solidarity and collective identity, challenging dominant power structures and asserting the community’s right to self-determination. In Guadeloupe, where the legacy of slavery and colonialism continues to shape social relations, these sonic expressions of resistance are particularly significant, representing a refusal to be silenced or erased.

Celebrating Our Lady of Guadalupe

Thomas M. Landy’s account of the Feast of Our Lady of Guadalupe in Mexico underscores the profound religious, cultural, and national significance of this devotion, where her image permeates daily life and her feast day on December 12th is marked by massive pilgrimages and vibrant celebrations involving “Masses and dancing and celebration.” This intense reverence in Mexico, where the Virgin is deeply intertwined with the “roots of Mexico,” provides a deep background for understanding the potential impact and adaptation of this devotion in other cultural contexts like Guadeloupe. While the specific expressions might differ, the underlying themes of communal celebration, the embodiment of cultural identity, and the deep-seated faith associated with Our Lady of Guadalupe likely resonate in Guadeloupean religious practices as well. Just as the annual feast on December 12th in Mexico is a powerful manifestation of cultural and religious unity, the veneration of Our Lady of Guadalupe in Guadeloupe, potentially expressed through local musical traditions and communal gatherings, could similarly serve as a focal point for Creole cultural identity and spiritual cohesion.

Concheros dance in devotion

Thomas M. Landy helps us see that celebrating Our Lady of Guadalupe in Mexico is a lively event with many ways of showing devotion, including the loud and constant sound of drums. During the feast days hundreds of dancers in native-style clothes fill the plaza, creating a vibrant scene alongside the quiet prayers of other visitors. The most frequently represented, and most prominent type of dancers, easily identifiable by their huge headdresses, are known as Concheros, a name that derives from the stringed instrument whose body is made from an armadillo shell. The powerful drumming isn’t just background noise, it’s a key part of how these dancers pray. One dancer even said that their dancing with the drums is another way to connect with the divine, just like the more common ways of praying inside the church. This shows that devotion to Guadalupe can be expressed through strong sounds and movement, not just silent prayer.

The music made by the drums and other instruments for the dancers has a long history in Mexico, mixing Spanish and native traditions. This blend of cultures is important because the story of Guadalupe itself involves a native Mexican man. So, the loud sounds of the drums and the native-style clothing show how Mexican people have brought their own culture into their Catholic faith. This idea of mixing traditions is also central to understanding religion in Guadeloupe, where African and French customs have come together to create unique ways of worship. Just as the drums and dancing are a key part of celebrating Guadalupe in Mexico, specific sounds and music in Guadeloupe likely play a big role in showing devotion to her and expressing local cultural identity. We can think about how the “grain of the voice” in Guadeloupean songs and the “acousmatic sound” of religious music there might carry the history and culture of the island, just like the drums do in the Mexican celebration.

Short Bibliography

GAMBONI, DARIO. “The Underground and the Virgin of Guadalupe”: The Underground and the Virgin of Guadalupe:, www.scielo.org.mx/pdf/aiie/v31n95/v31n95a5.pdf?utm_source, https://doi.org/10.22201/iie.18703062e.2009.95.2295.

Gaál Gyulai, Emery de (2011) “The Marian Connection Between the Americas and Europe: Our Lady of Guadalupe, 1300-1900,” Marian Studies: Vol. 62, Article 6.

Peterson, Jeanette. “The Virgin of Guadalupe: Symbol of Conquest or Liberation?” Source: Art Journal, vol. 51, no. 4, 1992, pp. 39–47, www.csus.edu/indiv/o/obriene/art111/readings/virgin%20of%20guadalupe.pdf?

“The Story of the Virgin of Guadalupe | the American Yawp Reader.” Americanyawp.com, 2016, www.americanyawp.com/reader/the-new-world/the-story-of-the-virgin-of-guadalupe/.

Karto, Annie. “Song To Our Lady of Guadalupe”. https://relicourladyofguadalupe.wordpress.com/wp-content/uploads/2022/01/music-for-olog-hymn-a4-4.gif

Landy, Thomas M. “Mexico’s celebration for Our Lady of Guadalupe.” Catholics & Cultures. https://www.catholicsandcultures.org/mexico-celebrating-our-lady-guadalupe

Landy, Thomas M. Catholics & Cultures. “Concheros dance in devotion to Our Lady of Guadalupe.” Catholics & Cultures. https://www.catholicsandcultures.org/mexico-concheros-dance-devotion-our-lady-guadalupe