Why do post-pilgrimage slideshows help Transylvanian Hungarian Catholics perform domestic devotional labor? There is growing interest in breaking open pilgrimage research, and scholars have recently begun studying rituals of return—including pilgrims’ practice of using photographs to narrate their journeys after returning home. I contribute to this effort by sketching out the general characteristics of Transylvanian Hungarian Catholics’ post-pilgrimage slideshows about the Medjugorje shrine. I then give a detailed description of an exemplary case: a married couple’s presentation for their children gathered around the family computer. Although we might expect pilgrims to routinize stories and images from a chaotic journey, many slideshows were quite disorganized and impressionistic. This disorganization helped travelers tailor their stories to the diverse spiritual interests of guests in a changing Transylvanian Hungarian Catholic religious landscape. Family members’ conversations also dramatized how neoliberalism in Romania has emerged alongside new global pilgrimage sites like Medjugorje. Medjugorje appeals to pilgrims because it is a privileged site for advertising national wares on the global market.
Kapaló, James A. 2019. “The Appearance of Saints: Photographic Evidence and Religious Minorities in the Secret Police Archives in Eastern Europe.” Material Religion: The Journal of Objects, Art, and Belief. 15(1): 82-109.
Abstract: I present here examples of the photographic presence of a religious minority community in the secret police archives in ex-communist Eastern Europe. The use of secret police archives by researchers to trace the history of repression and collaboration and to understand the methods employed by totalitarian regimes to control their populations is well established. The significance of these archives for the study of material religion, however, has been largely overlooked by scholars. The secret police archives in Romania and the Republic of Moldova constitute a hidden repository of confiscated religious materials and photographs which often sit alongside photographic images created by the secret police in the course of their investigations into “criminal” religious activities. These archives, therefore, represent an important resource for understanding both how religious groups chose to represent themselves, and how the totalitarian system created images of religious “others” in order to incriminate them and to produce anti-religious propaganda. In this paper, through the presentation of example cases from state security files, I discuss the dual character of the photographic traces of communities in the archives as both religious justification and incrimination, and suggest ways of approaching these images through their materiality in the context of contemporary post-communist society.
de la Cruz, Deirdre. 2017.”To Which Earthly Categories Do Not Apply: Spirit Photography, Filipino Ghosts, and the Global Occult at the Turn of the Twentieth Century,” Material Religion, 13(3): 301-328 .
Abstract: In this article I examine an album of spirit photographs published in Barcelona circa 1903. The album comprises two photograph collections, one of photos taken in a studio in Manila, the Philippines, another belonging to Dr. Theodore Hansmann, a German immigrant to the USA who was one of the country’s most ardent advocates and researchers of spirit photography. Apart from their overt share in a genre, it is unclear what connects these two collections and who exactly brought them together. I draw from this ambiguity in order to explore the tension between spiritism as a philosophy and practice that traveled via historically specific colonial routes and were localized to particular political and cultural contexts, and spiritism as a global occult movement founded precisely on the promise of transcending metaphysical and spatial boundaries.