This article addresses recent critiques of secularisation as a linear explanatory model for religious change in European societies, proposing that contemporary artistic creation is a fertile site for observing new interrelations between the secular and the religious. Focusing on João Madureira’s Missa de Pentecostes (2010), composed for the ensemble ‘Sete Lágrimas’ and part of a cultural project by the Roman Catholic community of ‘Capela do Rato’ (Lisbon), the study analyses how this work creatively reconfigures the traditional Mass form. By juxtaposing the Ordinary sections (e.g., Kyrie, Gloria) with the Proper sections (e.g., Introitus, Sequentia), which incorporate non-canonical Portuguese poetic texts, the composition creates a hybrid space in which ritual and artistic modes interact and mutually re-legitimise each other. Using a heterological interpretative framework inspired by Michel de Certeau, the article highlights the tensions and exchanges between ritual and aesthetic logics. The analysis draws on key theoretical concepts including Jean Rancière’s notions of consensus and dissensus, Pierre Bourdieu’s theory of ritual and habitus, Paul Ricoeur’s philosophy of translation as hospitality, and Pierre Lévy’s concept of universalism without totality. The findings suggest that Madureira’s work enacts a process of poetic re-signification of religious memory, opening new possibilities for hybrid ritual–artistic practices. These practices transform ritual time-space into an interface that fosters plural and non-totalising forms of spiritual belonging.
A Margarida Teixeira (Sun,) studied this question.