Collective Writing as Communal Ritual and Reflection: Engaging with Faith in Blackness
Image Still of Faith in Blackness: An Exploration of Afro-Latine Spirituality
By Dr. Rojo Robles and Students of the course Latin America and the Caribbean: Cultures and Societies
Faith in Blackness: An Exploration of Afro-Latine Spirituality is a short-form documentary that examines the lived experiences of Afro-Latines across different faith traditions, exploring how Blackness and spirituality intersect. Director Charles Reynoso and producer Josue Perea emphasize reclaiming spirituality through an Afro-Latine lens, challenging the anti-Blackness embedded in dominant religious traditions and advocating for decolonizing faith. The film critiques the pervasive white male depiction of God and highlights the transformative power of Afro-Latine spiritual perspectives in fostering inclusivity and justice-rooted beliefs. Through personal narratives, interviews, and poetic storytelling, Faith in Blackness portrays Black Latine individuals reshaping their spiritual practices to embrace their identities, inspiring others to seek liberation and ancestral connection in their faith journeys.
As part of my winter course at Baruch College, Latin America, and the Caribbean: Cultures and Societies, students engaged in a collective writing exercise to reflect on Faith in Blackness. This course was rooted in communal knowledge production, where every project incorporated a shared, participatory learning mode. Writing together became a ritual—an opportunity to recognize one another’s insights, brainstorm, and generate analysis as a community.
Over three weeks, we explored the region’s histories, cultures, and societies through films and essays, tracing narratives from Indigenous civilizations to contemporary struggles. Faith in Blackness was a key text in our unit on the African diaspora, in which we examined the histories of slavery, resistance, and cultural survival. Before watching the film, we studied Quilombo (Carlos Diegues, 1984), a movie about fugitive African settlements in Brazil. This set the stage for a discussion on African spiritual practices and epistemologies as forms of marronage—acts of both physical and cultural resistance.
Following our viewing of Faith in Blackness, we engaged in a collective writing exercise to process and articulate our reflections. This practice mirrored the documentary’s themes—centering communal storytelling, spiritual reclamation, and the lived experiences of Black and Afro-Latine individuals. What follows is our shared reflection on the film, shaped by our dialogue and collective engagement with its themes.
Contesting Whiteness Within Spiritual Practices
Hamilton Azon: La idea central del documental es sobre la identificación racial. Al mismo tiempo el documental trabaja con el tema de la diversidad espiritual. La identificación con la negritud se presenta como una fuente de apoyo fundamental. El filme trata de cómo la negritud se integra en la vida cotidiana, de cómo se vive en el mundo en tanto afro-descendiente, y de cómo uno mismo se identifica. Esta narrativa de afirmación permite que las personas afro-latinas puedan conectar con sus raíces y tradiciones.
Taliyah Golding: The film opens with a religious question: “What is the first thing you see when you think of god? Not what you’ve rationalized, but your initial thought?”. I found that quite powerful to open with, as most people would generally think of a European-centric god. I agree that we don't envision god in our image; it takes practice. As seen in the film, certain religious practices, such as Catholicism, have a more challenging time relating with the ethnic groups of its followers in the Caribbean and Latin America because of these symbols of whiteness. Religion, as stated in the film, was used to subjugate the Black and Native populations. It was also used to rationalize European behavior to our ethnic groups, thus making it difficult for many Latines and Black populations to align with The Church. The people interviewed in this film learned to separate religion from faith, to worship and hold their faith close without using the European images so ingrained in us.
Fatima Torres: This documentary criticizes how, for many centuries, society has exposed us to the normalization of whiteness. From commercials to religion to traditions, a lot has been colonized and imposed on us. And it gets worse when talking about religion. How is it possible for a Black person to identify themselves to a religion that only represents colonized versions? Religion was something used to subjugate us to colonization. La Virgen María, the image of a perfect woman, is a white woman, a pesar de que históricamente, se comprueba que María no era blanca, Maríaa era una mujer palestina. Therefore, Jesucristo was not white. However, a white man is the image of God on earth. This documentary shows that by making God Black, Afro-descendent people can make their religious experience something more relatable, where they can identify themselves. They can have a real spiritual connection by having a religious lens that can include their traditions and culture.
Connections Between African Rituals, Performances, and Freedom From Colonial Oppression
Viktoria Borosan: Religion was a key supporting factor for slavery and colonialism. It was a means of oppression and dehumanization. The oppressed, racialized groups were forced to comply with Catholicism. They were left with no other choice (all the while, all of Europe was debating about the different branches of Christianity, questioning governments based on them, and threatening war). The fact that Afro-Latine spirituality has become visible is an excellent example of freedom and liberation. These communities now have the liberty to explore their faith and express it in a way they prefer, which is a testament to growing freedom from oppression. In the documentary, an array of different religions (Islam, Buddhism, Judaism) were shown to be practiced by Afro-Latine people. This is an excellent example of spiritual freedom, showing that the world has come a long way (though there is plenty more to go). It is forever astonishing to me that the colonized communities somehow managed to find faith despite religion being used against them every turn of the way. As someone who has struggled with my faith, learning about these stories was inspiring and, in a way, heart-warming.
Jasleen Kaur: The relationship between Afro-Latine spirituality and liberation, as presented by the documentary, is that spiritual practices emanating from African roots are potent tools of resistance and cultural preservation in the face of colonial oppression. Most spiritual practices combine ritual performances, music, and dance as symbolic acts of freedom and resistance. Rituals calling on ancestral spirits connect a person to a lineage not interrupted by slavery and engender pride and belonging. People were forced to believe in Catholicism because they had no other choice. The movie shows how syncretic religious practices enact Afro-Latine spiritual systems. They are acts of rebellion that keep the African legacy alive.
Melody Yazdan: The documentary explores how Afro-Latine spiritual traditions help communities reclaim identity, resist oppression, and find freedom. The film focuses on rituals like drumming, chanting, and dancing, showing how African heritage survived slavery and colonial bans. They serve as pillars for reclaiming cultural identity. They also reveal the hidden histories of African diaspora resilience. These practices build pride, linking people with ancestors and presenting a worldview that honors African knowledge. This perspective undermines colonial dominance and demands respect for Black culture. Leaders also fight for social justice, providing resources to communities and opposing racism and economic injustice. Through tradition and activism, Faith in Blackness reveals how Afro-Latine spirituality remains a powerful force for cultural survival and liberation. Its message shows that embracing African roots inspires hope today despite ongoing global challenges.
Tamanna Kazi: Faith, identity, and social justice are the primary connections between Afro-Latine spirituality and liberation. This film focuses on how spiritual practices and cultural heritage are twisted with a struggle for racial and social freedom. The documentary highlights how Afro-Latine communities use their spirituality as a tool to fight against systemic oppression. Their spiritual practices act as a communal force for solidarity and resistance. Afro-Latine spirituality often emphasizes the importance of ancestral reverence, healing rituals, and the role of deities or saints who represent resistance to oppression. Through these spiritual practices, they reconnect with their cultural roots and gain power over colonial oppression. They use their spirituality as a collective power to advocate for racial justice, equity, and human rights.
Dispersion and Regeneration of the African Diaspora in the Americas
Sean Kirchner: The documentary explores the spiritual experiences of Afro-Latine people, emphasizing their search for identification and belonging within many faith systems. The documentary includes contributions from Yvette Modestin, a Panamanian writer and activist who highlights the widespread invisibility of Afro-descendants in Latin America and the Caribbean. Modestin’s reflection addresses a more significant issue of identity and the internalized denial of Blackness among Afro-descendants. This problem is exacerbated by preconceived social norms, resulting in a lack of recognition and appreciation for African origins. I think this documentary demonstrates this through human stories and demonstrating how many Afro-Latine people have been taught to disassociate from their Black identity to fit into society. The documentary also reveals how Afro-Latine communities are reclaiming their ancestry and spirituality, which results in a revived sense of pride and self-awareness. By displaying voices like Yvette Modestin’s, the documentary promotes a better understanding of the African dispersion and the contributions to America's cultural and spiritual landscapes.
Cindy Lopez: This documentary elaborates on being connected to the culture of Afro-descendants. When Yvette Modestin says, “We people in Latin America and the Caribbean, the largest population of Afro-descendants, are walking around not knowing we are Black,” she is expressing how people in Latin America and the Caribbean often don’t know and understand their ancestry and heritage. Usually, this happens because they are not taught the history of Latin America in schools. They only teach the stuff on the surface and with the lens of whiteness, which is an issue because people should know the entirety of their culture. Many Afro-descendants are not taught about the significance of their African heritage or the contributions of African peoples to their national histories, cultures, and identities.
Wilver Mariano: Yvette Modestin’s statement, “We, people in Latin America and the Caribbean, the largest population of Afro-descendants, are walking around not knowing we are Black,” is vibrant as it represents the widespread erasure of Black identity caused by colonialism and social constructs. Faith In Blackness shows this by representing scenes of African-rooted rituals, such as drumming and chants. There were also some clips where people expressed their confusion about their Black heritage. This contrast reveals the lasting effects of colonial history on how Afro-Latinos view themselves. If we find a way to reconnect more with our African heritage, we can build a better connection to it. Modestin’s words emphasize the need to recognize Blackness as vital to Latin American culture and history.
Diana Jimenez Ortiz: Unfortunately, due to the massive trade of captured African people and the destruction of native practices, there is little to no knowledge about the people who were born in or were forcibly brought to Latin America. During one of the earlier scenes, Modestin expresses how the separation of families occurred during slavery. A father would be sent to one place, the daughter to another, the aunt to another country, and so on. How can we know ourselves when the community we belong to is destroyed? That is why the quote of Yvette Modestin is significant: it highlights how much the people of Latin America truly lost. A substantial loss within Latin America is identity, to the point where many will reject their Blackness to become something else entirely. For instance, in one of the stories, the woman's curls were cut because the hairstylist didn't know how to do curls. While it might seem minor, it shows how ignorant Latin people have become about their origins. That is why, within the documentary, Afro-Latine people are shown trying to discover themselves within Blackness. To regain what they have once lost.
The Duality Between Self-consciousness and Labeling From the Outside
Nada Bain: In the documentary, many speakers experienced racial identification issues. From birth, I knew who I was in terms of racial identity. I was a Black Caribbean girl. But many speakers found out much later on in their lives. Many families cannot help the younger generations identify who they are. For example, it took a speeding ticket for the Dominican speaker's mom to figure out that she was Black and Latina. The lack of identity also made it hard for individuals to connect to God. Jesus was always portrayed as a white European man, but upon research, it was found that it was incorrect. Many speakers talked about being unsure of who they were. However, many aspects, like religion, helped them stabilize their identity. They relayed that you don't have to fit into a bubble. For example, one of the speakers found solace in her religion as a Muslim and Afro-Latina.
Tomas Reyes: Embracing your Black identity can be a source of personal strength. It can make you feel part of a community with a long, beautiful history that thrives in unity. It can give you something to represent and show others. From the outside view, other people can often identify us more clearly than we can. For instance, a speaker mentioned being told by his therapist that he was Black. Even though he was dark-skinned with dreads, hearing it opened his eyes. This realization led him to embrace his Black culture.
Dr. Rojo Robles: The students’ responses reveal that the documentary highlights the impact of colonialism and the imposition of whiteness within religious practices while showcasing the resilience of Afro-descendant communities in reclaiming faith traditions that affirm Blackness. As Fatima Torres and Taliyah Golding point out, contesting the normalization of Eurocentric religious imagery is an essential step in decolonizing spiritual practices and making space for Black-affirming representations.
The documentary also emphasizes the power of African-rooted rituals, music, and performance in sustaining cultural memory and fostering liberation. As Jasleen Kaur and Melody Yazdan note, spiritual practices rooted in African traditions function as acts of defiance against oppression. They keep the African legacy alive while offering a sense of belonging and healing. This spiritual reconnection is personal and collective, as Tamanna Kazi highlights—faith, identity, and social justice intersect to provide Afro-Latine communities with a foundation for empowerment.
The significance of students reflecting together on these themes lies in their ability to recognize shared histories of erasure and recovery. As Yvette Modestin’s words illustrate, many Afro-descendants in Latin America and the Caribbean have been systematically distanced from their Black identity. Yet, films like Faith in Blackness provide a means to challenge that erasure. Student discussions about these themes encourage a deeper engagement with how spiritual sustainability can be a form of cultural regeneration. A true “faith in Blackness” reconnects individuals to ancestral knowledge that resists colonial frameworks. Students analyze historical and contemporary struggles by engaging in these conversations and contribute to reclaiming, confirming, or amplifying Afro-Latine identities and voices through faith, spirituality, and cultural memory.
Rojo Robles
Dr. Rojo Robles is a Puerto Rican writer, filmmaker, and scholar specializing in Latin American, Latinx, and Afro-diasporic literature, cinema, and culture. He holds degrees in Theater (BA), Comparative Literature (MA), and Latin American and Latinx cultures (MPhil; Ph.D.) and is an Assistant Professor at the Black and Latinx Studies Department at Baruch College, CUNY. As a scholar, Dr. Robles has published articles in various journals like SX Salon| Small Axe Project, Voces del Caribe, the Puerto Rico Review, Taller Electric Marronage, Revista Cruce, Revista Iberoamericana, and Transmodernity. He is working on a book and a series of articles exploring Afro-Diasporican maroon poetics and cinegraphic literature. He co-hosts the Latinx Visions podcast and is the co-director of the Black Studies Colloquium.
