The content of this cycle of stories is remarkably similar, although the parallels here are closer between Teresa and Fidencio, than between these two and Damian. She underwent a number of ecstatic ‘fits,’ during which she attended the court of God:Ī mythology quickly grew up around each of the folk saints, attracting ever more adherents. Take for example, Teresa Urrea, whom we examine below in a bit more detail. So what sets a folk saint apart from a revered ancestor, then? How is that “sainthood” bestowed, if not through the channels of a legitimizing body like the church? In general, the holiness of the saint empowers him or her-the saint is either directly in communion with the divine or is a transformed divinity him- or herself.
Some of this was discussed on the Podcast Special on Magical Saints a while back, where I highlighted both official and unofficial saints, so some of the information below may be a bit repetitive, but it can’t hurt to have a little more information. In other cases, folk saints have little or nothing to do with the Catholic Church, and instead are simply incredibly popular figures who’ve developed devotional cults which make sacred pilgrimages or maintain shrines to a particular figure. The process of canonization frequently involves a great deal of waiting and confirming and bureaucracy on the part of the Catholic church, and sometimes folk saints are simply people who are on the way to becoming official saints but who still lack whatever final paperwork might be required to get their membership card into the elect order. Today I’ll be looking again at Saints, but veering away from the orthodox and the official and into the realm of popular or “folk” saints. It’s not quite officially summer yet, technically speaking, but the days are longer and the air is warmer, so I thought this would be a good time to revisit a subject which I explored last summer and add a new chapter to the book of New World Witchery. Shrine to Elvis, by theogeo, from Flickr (used under Creative Commons license)
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Title music is “Woman Blues,” by Paul Avgerinos.
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