In the Dogon funeral proceedings, a major song cycle called baja ni is performed in a session of at least seven hours. The texts of the chants are attributed to a legendary figure called Abirɛ, who as a blind singer in the nineteenth century roamed the heartland of the Dogon. The baja ni songs have escaped scholarly attention thus far. Singing with the Dogon Prophet by Walter E.A. van Beek, Oumarou S. Ongoiba, and Atimε D. Saye provides their first publication in English as well as an analysis of these songs. These texts deal with the relations between man and woman, man’s ambivalent dependency on the otherworld, and with life and death; the whole night performance is one of the high points of the funeral. Additionally, Abirɛ is a prophet, and during his life has uttered a great number of prophecies on a wide range of topics, from local issues to the relation of the Dogon with the Fulbe herdsmen, and from the arrival of the colonials to ecological transformation. This book examines how these prophecies with these songs offer an inside view of the way the Dogon construct the present in a continuous dialogue with their past and their projected future.
Explores the dynamics of African masquerades and mask performances on the continent, linking performative expressions to societal characteristics. What is the meaning of masks and masquerades in African traditions and how can we understand their role in rituals and performances? Why do we find masks in some African regions and not in others, and what does this 'mask habitat' say about the general dynamics of masquerades in Africa? Though masks are among the most famous art icons of Africa, exploration of their uses and the way in which they articulate social characteristics of African societies has been underexamined. This book takes an anthropological perspective on the phenomenon of masquerades on the African continent to show how mask rituals are an integral part of African indigenous religions and societies, and are informed by and linked to specific types of social and ecological conditions. Having established the commonalities of mask rituals and a mask typology, the authors look at the varieties of mask performances and the types of rituals in which masks function in rites of passage and in rituals of gender, power, and identity. The following chapters focus on different types of rituals featuring masks, from initiation and death ceremonies to secrecy, kingship, law and war. With its broad examination of the use of masks on the continent, from Angola to Burkina Faso, Cameroon, DRC, Guinea, Ivory Coast, Liberia, Mali, Nigeria, Senegal, this well illustrated book will stand as an authoritative study of the use of masks, of interest not only to those in African Studies but to anthropologists and ethnographers worldwide.
We all want to know what will happen to the earth and to those who come after us, our children and our grandchildren. Diane, seeking an answer, has gone to women visionaries and seers: women who channel the future and those who bring it to life in their writings. This is the time, Diane avers, for women to define what needs to be changed and begin to do the work. By women’s power of thought and creation, we together can make a better world.
Edgy, witty, and opinionated critical analysis of “classic rock” in the 21st century, discussing everything from modern remixes of classic albums (why?) to concert ticket prices, Record Store Day, the vinyl revival, milking deceased artists, reunions, tribute acts, and more. When Dave Thompson’s I Hate New Music: The Classic Rock Manifesto in 2008, the book did not so much divide the world of rock reading as leave it in an uproar. It started arguments, it ended debates, and for the author of over 150 music books, it not only received the strongest reader response of any book he’d written, it also still crops up in author interviews today. Almost fifteen years later, however, much has changed, and the classics have lost some of their bite as well. In I Hate Old Music, Too, Thompson recasts the story of “classic rock” in the 21st century. Among the targets of his ire are lavish box sets that mostly just duplicate the albums you already own; comebacks and reunions featuring half or even fewer of the band members; the dark side of the “vinyl revival;” the continued cult of The Beatles; and much more.
An eleven-volume guide to the geography, history, economy, government, culture and daily life of countries of the Middle East, western Asia and northern Africa.
In the mid-3rd century BC, King Ptolemy II Philadelphus of Egypt ordered a translation of the ancient Hebrew scriptures for the Library of Alexandria, which resulted in the creation of the Septuagint, as well as several other books of Jewish and Samaritan scriptures, including the Book of Enoch, Book of Job, Testaments of Abraham, Isaac, and Jacob, and the Dodeka. The Dodeka was not part of the collection of texts the Jews fleeing Egypt carried with them from the Jewish Temple in Elephantine, and is therefore believed to have been translated into Greek later, circa 180 BC. It would eventually be added to the Septuagint as the Book of Dodeka circa 140 BC, and then much later be divided into its twelve constituent books by the early Christians in the 3rd-century AD, subsequently called the twelve minor prophets. The books comprising the Dodeka all date from between 900 and 500 BC, and represent the works of twelve ancient prophets, which in the original Greek translation, represented several different gods. These were not Jewish prophets, but Israelite prophets, mostly living the age before King Josiah banned the old gods, in approximately 625 BC. Most of the books in the Dodeka were written before King Josiah's reforms. The books of Hosea, Amos, and Micah are set during the 8th-century BC, when the kingdom of Samaria fought a series of wars against its more powerful northern neighbor Assyria, ultimately being conquered by the Neo-Assyrian Empire circa 722 BC. The books of Joel, Obadiah, and Jonah follow, although their exact settings are not clear. The books of Nahum, Habakkuk, and Zephaniah follow, set in the 7th-century BC, as the Kingdom of Judea struggled for its survival between the powers of the time, Assyria to the north, Egypt to the south, and Babylon to the east, ultimately falling to the Neo-Babylonian Empire circa 586 BC. There is a gap in the prophets during the era when Babylon ruled Judea, and they continue with the books of Haggai, and the first half of Zachariah, set in the late-6th-century, after the Persians have conquered the Babylonian Empire. Combining the various Elohim that are appear to have been the text the Greeks translated, including Shaddai (Shaddayin), On (Aven), Dagon, Tirath (Tirosh), Yitzhar, Reshef (Blight), Mot, Hades (Sheol), and Abaddon (Destruction), Ba'al Hadad, Ba'al Hammon, Qetesh Asherah, Sydyk, and Shemesh, it strongly suggests that the text was heavily edited in the Hasmonean era when Yahweh Sabaoth replaced Lord El. Unfortunately, the existing Dead Sea Scrolls shed little light on the situation as they date to the era the edits would have taken place, but are in the script that should only show the edited version. Nevertheless, they are so damaged almost none of the questions about the differences between the Dodeka and Masoretic Texts could be resolved, even if they were in the Canaanite script.
Ritual trance has always been closely associated with music—but why, and how? Gilbert Rouget offers and extended analysis of music and trance, concluding that no universal law can explain the relations between music and trance; they vary greatly and depend on the system of meaning of their cultural context. Rouget rigorously examines a worldwide corpus of data from ethnographic literature, but he also draws on the Bible, his own fieldwork in West Africa, and the writings of Plato, Ghazzali, and Rousseau. To organize this immense store of information, he develops a typology of trance based on symbolism and external manifestations. He outlines the fundamental distinctions between trance and ecstasy, shamanism and spirit possession, and communal and emotional trance. Music is analyzed in terms of performers, practices, instruments, and associations with dance. Each kind of trance draws strength from music in different ways at different points in a ritual, Rouget concludes. In possession trance, music induces the adept to identify himself with his deity and allows him to express this identification through dance. Forcefully rejecting pseudo-science and reductionism, Rouget demystifies the so-called theory of the neurophysiological effects of drumming on trance. He concludes that music's physiological and emotional effects are inseparable from patterns of collective representations and behavior, and that music and trance are linked in as many ways as there are cultural structures.
This book supplies fundamental information about the diverse religious beliefs of Africa, explains central tenets of the African worldview, and overviews various forms of African spiritual practices and experiences. Africa is an ancient land with a significant presence in world history—especially regarding the history of the United States, given the ethnic origins of a substantial proportion of the nation's population. This book presents a broad range of information about the diverse religious beliefs of Africa that serves to describe the beliefs, practices, deities, sacred places, and creation stories of African religions. Readers will learn about key forms of spiritual practices and experiences, such as incantations and prayer, dance as worship, and spirit possession, all of which pepper African American religious experiences today. The entries also discuss central tenets of the African worldview—for example, the belief that humankind is not to fight nature, but to integrate into the natural environment. This volume is specifically written to be highly accessible to students. It provides a much-needed source of connections between the religious traditions and practices of African Americans and those of the people of the continent of Africa. Through these connections, this work will inspire tolerance of other religions, traditions, and backgrounds. The included selection of primary documents provides users first-hand accounts of African religious beliefs and practices, serving to promote critical thinking skills and support Common Core State Standards.
Cabo Verdean Women Writing Remembrance, Resistance, and Revolution: Kriolas Poderozas documents the work and stories told by Cabo Verdean women to refocus the narratives about Cabo Verde on Cabo Verdean women and their experiences. The contributors examine their own experiences, the history of Cabo Verde, and Cabo Verdean diaspora to highlight the commonalities that exist among all women of African descent, such as sexual and domestic violence and media objectification, as well as the different meanings these commonalities can hold in local contexts. Through exploring the literary and musical contributions of Cabo Verdean women, the Cabo Verdean state and its transnational relations, food and cooking traditions, migration and diaspora, and the oral histories of Cabo Verde, the contributors analyze themes of community, race, sexuality, migration, gender, and tradition.
