Description
Saint Benedict the Moor (1526-1589), a prominent figure in the devotional panorama of the early modern period, represents a bridge between the religious traditions of the Mediterranean and Afro-American spirituality. Born in San Fratello (Messina) to a family of African slaves, he became the object of a special cult that rapidly spread between Sicily and Spain, thanks to the efforts of the Franciscan friars, before reaching Afro-descendant communities in Latin America. As evidence of the extraordinary impact of his devotion at the local level, in 1652, Benedict was named co-patron of Palermo by the city's Senate, paralleling the growing devotional interest in Saint Rosalia. This ‘religious success’ can be understood in light of the increasing presence of black slave communities, who often organized themselves into confraternities. The phenomenon of black confraternities grew significantly between the 16th and 17th centuries, promoting devotional events that also included music. These celebrations had their own characteristics in terms of sound, with chants and processions that often exalted saints who were perceived as closer and more accessible to the lower social classes. At the same time, in the New World, the devotion to Saint Benedict the Moor took deep root among enslaved converts, who adopted him as their intercessor and protector, reshaping his figure through ritual expressions enriched by musical elements and dances of African origin. Considering the convergence of different cultural influences, this paper aims to offer a broad reflection on the relationship between music and the cult of the ‘Santo Moro’, exploring the role of black communities within the framework of early modern Mediterranean sanctity and their dialogue with the New World.
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