AASR E-Journal December 2018 - Volume 4 - Number 1
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El Mundo De La Santeria.Pdf
VENEZUELA ESOTERICA. El mundo de la Santeria Volver a Santeria. El Mundo de la Santeria 1 LOS ORISHAS El Mundo de la Santeria 2 ORACION A SAN JUAN RETORNADO HOMBRE MIO, HOMBRE TUYO NO ,HOMBRE SIERVO, CRIATURA DE DIOS SI;SI DE LA TRECES PALABRAS DE SANJUAN RETORNADO QUIERO QUE ME DIGA LA NUMERO UNO:BIEN TE LA DIGO PORQUE MUY BIEN ME LA SE LA UNO ES LA CASA SANTA DE JERUSALEN EN DONDE CRISTO ENTRO AMEN. HOMBRE MIO HOMBRE, HOMBRE TUYO NO, HOMBRE SIERVO CRIATURA DE DIOS SI , SI DE LA TRECE PALABRAS DE SAN JUAN RETORNADO QUIERO QUE ME DIGA LA NUMERO DOS, BIEN TE LA DIGO PORQUE MUY BIEN ME LA SE:LAS DOS SON LA DOS TABLAS DE MOISES AMEN. HOMBRE MIO, HOMBRE TUYO NO, HOMBRE SIERVO CRIATURA DE DIOS SI; SI DE LAS TRECE PALABRAS DE SAN JUAN RETORNADO QUIERO QUE ME DIGA LA NUMERO TRES BIEN TE LA DIGO PORQUE MUY BIEN ME LA SE LA TRES:SON LOS TRE CLAVOSCON QUE CLAVARON DE PIES Y MANOS A NUESTRO SEÑOR JESUCRISTO AMEN HOMBRE MIO HOMBRE TUYO NO HOMBRE SIERVO CRIATURA DE DIOS SI; SI DE LA TRECE PALABRAS DE SAN JUAN RETORNADO QUIERO QUE ME DIGA LA NUMERO CUATRO BIEN TE LA DIGO PORQUE MUY BIEN ME LA SE :LA CUATRO SON LOS CUATRO EVANGELIO DE NUESTRO SEÑOR JESUSCRISTO AMEN. HOMBRE MIO HOMBRE TUYO NO HOMBRE SIERVO CRIATURA DE DIOS SI; SI DE LAS TRECES PALABRAS DE SAN JUAN RETORNADO QUIERO QUE ME DIGA LA NUMERO CINCO: BIEN TE LA DIGO PORQUE MUY BIEN ME LA SE LA CINCO SON LAS CINCO LLAGAS INFERIDAS DEL MARTIRIO QUE LO JUDIOS HICIERON EN EL CUERPO DE NUESTRO SEÑOR JESUSCRISTO AMEN. -
Copyright by Abimbola Adunni Adelakun 2017 Godmentality: Pentecostalism As Performance in Nigeria
Copyright By Abimbola Adunni Adelakun 2017 Godmentality: Pentecostalism as Performance in Nigeria By Abimbola Adunni Adelakun Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2017 Dedication To Marcel and Athena. I am grateful for how far we have come. Like Jacob in the Bible who said, “For with my staff I passed over Jordan and now I have become two bands….” I also can proudly declare that the person that crossed the Atlantic Ocean in 2011 has greatly multiplied in all directions. Of all I have been blessed with, you two are the greatest of all. iii Acknowledgements …because it takes a village to write a dissertation In the time one takes to write a dissertation, one accumulates a string of debts that can never be fully repaid. One can only try, and do so employing words to convey the depth of one’s gratitude. First, my deep appreciation goes to my committee members: Profs. Joni Omi Jones, Lisa Thompson, Paul Bonin- Rodriguez, Charlotte Canning, and Toyin Falola. Thanks for all support, patience, love and understanding all through this project. I have worked with you in various capacities and every time you have helped me to become a better scholar and teacher. I am grateful to you all for the energy and effort you invested in my career throughout my time in the University of Texas at Austin. I must thank my family for all their support and prayers all through my time in the graduate school. -
Yoruba Art & Culture
Yoruba Art & Culture Phoebe A. Hearst Museum of Anthropology University of California, Berkeley Yoruba Art and Culture PHOEBE A. HEARST MUSEUM OF ANTHROPOLOGY Written and Designed by Nicole Mullen Editors Liberty Marie Winn Ira Jacknis Special thanks to Tokunbo Adeniji Aare, Oduduwa Heritage Organization. COPYRIGHT © 2004 PHOEBE A. HEARST MUSEUM OF ANTHROPOLOGY AND THE REGENTS OF THE UNIVERSITY OF CALIFORNIA. ALL RIGHTS RESERVED. PHOEBE A. HEARST MUSEUM OF ANTHROPOLOGY ◆ UNIVERSITY OF CALIFORNIA AT BERKELEY BERKELEY, CA 94720-3712 ◆ 510-642-3682 ◆ HTTP://HEARSTMUSEUM.BERKELEY.EDU Table of Contents Vocabulary....................4 Western Spellings and Pronunciation of Yoruba Words....................5 Africa....................6 Nigeria....................7 Political Structure and Economy....................8 The Yoruba....................9, 10 Yoruba Kingdoms....................11 The Story of How the Yoruba Kingdoms Were Created....................12 The Colonization and Independence of Nigeria....................13 Food, Agriculture and Trade....................14 Sculpture....................15 Pottery....................16 Leather and Beadwork....................17 Blacksmiths and Calabash Carvers....................18 Woodcarving....................19 Textiles....................20 Religious Beliefs....................21, 23 Creation Myth....................22 Ifa Divination....................24, 25 Music and Dance....................26 Gelede Festivals and Egugun Ceremonies....................27 Yoruba Diaspora....................28 -
AFN 121 Yoruba Tradition and Culture
City University of New York (CUNY) CUNY Academic Works Open Educational Resources Borough of Manhattan Community College 2021 AFN 121 Yoruba Tradition and Culture Remi Alapo CUNY Borough of Manhattan Community College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/bm_oers/29 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Presented as part of the discussion on West Africa about the instructor’s Heritage in the AFN 121 course History of African Civilizations on April 20, 2021. Yoruba Tradition and Culture Prof. Remi Alapo Department of Ethnic and Race Studies Borough of Manhattan Community College [BMCC]. Questions / Comments: [email protected] AFN 121 - History of African Civilizations (Same as HIS 121) Description This course examines African "civilizations" from early antiquity to the decline of the West African Empire of Songhay. Through readings, lectures, discussions and videos, students will be introduced to the major themes and patterns that characterize the various African settlements, states, and empires of antiquity to the close of the seventeenth century. The course explores the wide range of social and cultural as well as technological and economic change in Africa, and interweaves African agricultural, social, political, cultural, technological, and economic history in relation to developments in the rest of the world, in addition to analyzing factors that influenced daily life such as the lens of ecology, food production, disease, social organization and relationships, culture and spiritual practice. -
From Maroons to Mardi Gras
FROM MAROONS TO MARDI GRAS: THE ROLE OF AFRICAN CULTURAL RETENTION IN THE DEVELOPMENT OF THE BLACK INDIAN CULTURE OF NEW ORLEANS A MASTERS THESIS SUBMITTED TO THE GRADUATE FACULTY OF LIBERTY UNIVERSITY BY ROBIN LIGON-WILLIAMS IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ETHNOMUSICOLOGY DECEMBER 18, 2016 Copyright: Robin Ligon-Williams, © 2016 CONTENTS ACKNOWLEDGEMENTS iv. ABSTRACT vi. CHAPTER 1. INTRODUCTION 1 History and Background 1 Statement of the Problem 1 Research Question 2 Glossary of Terms 4 Limitations of the Study 6 Assumptions 7 2. LITERATURE REVIEW 9 New Orleans-Port of Entry for African Culture 9 Brotherhood in Congo Square: Africans & Native Americans Unite 11 Cultural Retention: Music, Language, Masking, Procession and Ritual 13 -Musical Influence on Jazz & Rhythm & Blues 15 -Language 15 -Procession 20 -Masking: My Big Chief Wears a Golden Crown 23 -African Inspired Masking 26 -Icons of Resistance: Won’t Bow Down, Don’t Know How 29 -Juan “Saint” Maló: Epic Hero of the Maroons 30 -Black Hawk: Spiritual Warrior & Protector 34 ii. -Spiritualist Church & Ritual 37 -St. Joseph’s Day 40 3. METHODOLOGY 43 THESIS: 43 Descriptions of Research Tools/Data Collection 43 Participants in the Study 43 Academic Research Timeline 44 PROJECT 47 Overview of the Project Design 47 Relationship of the Literature to the Project Design 47 Project Plan to Completion 49 Project Implementation 49 Research Methods and Tools 50 Data Collection 50 4. IN THE FIELD 52 -Egungun Masquerade: OYOTUNJI Village 52 African Cultural Retentions 54 -Ibrahima Seck: Director of Research, Whitney Plantation Museum 54 -Andrew Wiseman: Ghanaian/Ewe, Guardians Institute 59 The Elders Speak 62 -Bishop Oliver Coleman: Spiritualist Church, Greater Light Ministries 62 -Curating the Culture: Ronald Lewis, House of Dance & Feathers 66 -Herreast Harrison: Donald Harrison Sr. -
2021330162519689.Pdf
Journal of Modern Education Review, ISSN 2155-7993, USA April 2020, Volume 10, No. 4, pp. 245–253 Doi: 10.15341/jmer(2155-7993)/04.10.2020/006 © Academic Star Publishing Company, 2020 http://www.academicstar.us Assessing Adequacy of Pluralist Theology of Religions to Foster Authentic Faith in Africa Gabriel Oludele Adeloye (Director of Academic Affairs, Baptist College of Theology, Lagos, Nigeria) Abstract: This essay assesses the adequacy of pluralist theology of religions and considers the views of some pluralist theologians in a bid to promote authentic faith in Africa. Nigeria is used in this work to represent Africa given the strong similarities that exist among the people and focused mainly on its three major religions. This work adopts historical method through library research to obtain the needed information. The study discovers a sect called Chrisislamherb that worship pluralistically as Christians, Moslems and traditionalists to show uniformity of religions in Nigeria. It concludes that, there is an element of God’s revelation in all the religions. It recommends that knowledge of all the religions is necessary and good relationship with the adherents could help the Christians in proclaiming the faith and breeding harmonious coexistence. Key words: religion, pluralism, theology, unity 1. Introduction The term religious pluralism has generated a number of questions for the theologians concerning the relationship between Christianity and other world religions. These include “if Christianity is the true religion, is it theologically and morally acceptable to maintain that one religion is uniquely true and that the others are incomplete or even false and why are there so many diverse religions in the world?”1 That and several other questions were addressed by some key figures in the debate of pluralist theology such as John Hick, Langdon Gilkey, Cantwell Smith and Raimundo Panikkar (John Hick & Paul F. -
Iyami Osoronga (Àjé) 2 009
IYAMI OSORONGA (ÀJÉ) 2 009 Ìyámi Òsòròngá, la Gran Madre (Ajé) Ìyámi Òsòròngá (gran madre bruja), eleye (dueña de los pájaros), Ìyámi (madre mía), Aje, son los nombres con que se conoce a esta entidad, que en realidad son varias deidades agrupadas bajo un mismo termino. Ella es la encargada de establecer el control y el equilibrio de la naturaleza estableciendo la armonía y el orden de toda la creación, valiéndose para ello de los llamados osogbo o ayeo; iku (muerte), arun (enfermedad), ofo (perdida), eyo (tragedia), etc. contando siempre con la ayuda de ÈSÚ. Es amante del aceite de palma, del polvo de osun con el cual se pinta, del eje y de los iñales, los eyin, dueña de todos los pájaros que son sus hijos y hechiceros, es sorda y ciega lo que justifica su falta de misericordia y su actitud eternamente agresiva y desafiante y al igual que en el caso de Èsú, no se obtiene nada de ellas si no se le ofrecen sacrificios, los cuales son hechos bajo rituales rigurosos y dirigidos por los Babalawos. [email protected] 1 [email protected] IYAMI OSORONGA (ÀJÉ) 2 009 En sus sacrificios que son realizados bajo la noche, siempre se utiliza la luz de las lámparas de aceite o velas para que vean el ofrecimiento y el toque de campanas de bronce o hierro para que escuchen la petición y conceda su misericordia y perdón, tornándose en este caso en la su otra fase de bondad y amor. Se dice que para ejecutar sus funciones se transforma en pájaro y van a los más recónditos lugares para hacerlo. -
El Concepto De Vida Y Muerte En La Religión Yoruba
El concepto de vida y muerte en la religión yoruba Leonel Gámez Céspedes Sociedad Yoruba de México, A. C. os conceptos de vida y muerte para las personas que no comprenden nues- tra religión, y aun para muchos practicantes de la misma, son confusos y L llenos de lo que un lector casual llamaría “ambigüedades”. Sin embargo, en la mentalidad yoruba cada uno de los procesos de nuestra vida y nuestra muerte lleva pasos a recorrer, pues el concepto de ambas es equivalente al de hacer un via- je. De hecho, en nuestra religión todas las consagraciones que recibimos llevan lo que se denomina un itán, o sea un “camino” en su traducción al español. Esta sen- da a seguir que se nos traza nos llevará a la culminación de nuestras vidas con éxi- tos, prosperidad y sobre todo una larga existencia y una buena muerte. Muchos de los conceptos yoruba que veremos serán familiares a personas que conozcan algo de mitología griega. Como veremos, la muerte no está excluida y es parte del camino que debemos recorrer. Cada fase de nuestra muerte es precedida por alguna deidad o entidad que tiene una función en este proceso que nos toca pasar. En esta fase veremos que pasamos a ser un alma al morir y cómo después podemos pasar a ser un “ancestro venerado”. De hecho, si nuestra vida ha sido muy ejemplar, al morir podemos llegar a ser un egungun (ancestro venerado) o un orisha familiar o comunitario. En nuestra religión el concepto se recoge en la frase popular Ikú lobi ocha: “El muerto pare al santo”. -
ALAIANDÊ Xirê DESAFIOS DA CULTURA RELIGIOSA AFRO-AMERICANA NO SÉCULO XXI ORGANIZAÇÃO VAGNER GONÇALVES DA SILVA ROSENILTON SILVA DE OLIVEIRA JOSÉ PEDRO DA SILVA NETO
ORGANIZAÇÃO VAGNER GONÇALVES DA SILVA ROSENILTON SILVA DE OLIVEIRA JOSÉ PEDRO DA SILVA NETO ALAIANDÊ XirÊ DESAFIOS DA CULTURA RELIGIOSA AFRO-AMERICANA NO SÉCULO XXI ORGANIZAÇÃO VAGNER GONÇALVES DA SILVA ROSENILTON SILVA DE OLIVEIRA JOSÉ PEDRO DA SILVA NETO ALAIANDÊ XIRÊ DESAFIOS DA CULTURA RELIGIOSA AFRO-AMERICANA NO SÉCULO XXI ORGANIZAÇÃO VAGNER GONÇALVES DA SILVA ROSENILTON SILVA DE OLIVEIRA JOSÉ PEDRO DA SILVA NETO DOI: 10.11606/9786550130060 ALAIANDÊ XIRÊ DESAFIOS DA CULTURA RELIGIOSA AFRO-AMERICANA NO SÉCULO XXI São Paulo 2019 Os autores autorizam a reprodução e divulgação total ou parcial deste trabalho, por qualquer meio convencional ou eletrônico, para fns de estudo e pesquisa, desde que citada a fonte. Universidade de São Paulo Reitor: Vahan Agopyan Vice-reitor: Antonio Carlos Hernandes Faculdade de Educação Diretor: Prof. Dr. Marcos Garcia Neira Vice-Diretor: Prof. Dr. Vinicio de Macedo Santos Direitos desta edição reservados à FEUSP Avenida da Universidade, 308 Cidade Universitária – Butantã 05508-040 – São Paulo – Brasil (11) 3091-2360 e-mail: [email protected] http://www4.fe.usp.br/ Catalogação na Publicação Serviço de Biblioteca e Documentação Faculdade de Educação da Universidade de São Paulo A316 Alaiandê Xirê: desafos da cultura religiosa afro-americana no Século XXI / Vagner Gonçalves da Silva, Rosenilton Silva de Oliveira, José Pedro da Silva Neto (Organizadores). São Paulo: FEUSP, 2019. 382 p. Vários autores ISBN: 978-65-5013-006-0 (E-book) DOI: 10.11606/9786550130060 1. Candomblé. 2. Cultura afro. 3. Religião. 4. Religiões africanas. I. Silva, Vagner Gonçalves da. II. Oliveira, Rosenilton Silva de. III. Silva Neto, José Pedro. IV. Título. -
Gender and Race in the Making of Afro-Brazilian Heritage by Jamie Lee Andreson a Dissertation S
Mothers in the Family of Saints: Gender and Race in the Making of Afro-Brazilian Heritage by Jamie Lee Andreson A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Anthropology and History) in the University of Michigan 2020 Doctoral Committee: Professor Paul Christopher Johnson, Chair Associate Professor Paulina Alberto Associate Professor Victoria Langland Associate Professor Gayle Rubin Jamie Lee Andreson [email protected] ORCID iD: 0000-0003-1305-1256 © Jamie Lee Andreson 2020 Dedication This dissertation is dedicated to all the women of Candomblé, and to each person who facilitated my experiences in the terreiros. ii Acknowledgements Without a doubt, the most important people for the creation of this work are the women of Candomblé who have kept traditions alive in their communities for centuries. To them, I ask permission from my own lugar de fala (the place from which I speak). I am immensely grateful to every person who accepted me into religious spaces and homes, treated me with respect, offered me delicious food, good conversation, new ways of thinking and solidarity. My time at the Bate Folha Temple was particularly impactful as I became involved with the production of the documentary for their centennial celebrations in 2016. At the Bate Folha Temple I thank Dona Olga Conceição Cruz, the oldest living member of the family, Cícero Rodrigues Franco Lima, the current head priest, and my closest friend and colleague at the temple, Carla Nogueira. I am grateful to the Agência Experimental of FACOM (Department of Communications) at UFBA (the Federal University of Bahia), led by Professor Severino Beto, for including me in the documentary process. -
Retumbaron Los Tambores En Honor a Elegguá Y Oshún
ÓRGANO INFORMATIVO DE LA RELIGIÓN YORUBA EN VENEZUELA SANTERÍA - IFÁ - PALO MONTE - ESPIRITISMO Año 15 - Nº 147 Editor-Presidente: Víctor Moya http://www.ebboesoterico.com.ve La Revista Premium Bs. 100.000,oo “Esentayé vs. Mano de Orunmila” Comercial La Tienda Esotérica más completa de Caracas ¿Qué Beneficios Venganzas y Otra entrega de Gaceta Parroquial C.A. J-31330545-6 se Originan del Castigos Ebbó Oshumeta? de Los Orishas Yoruba Soy y ANSI realizaron un tambor doble en San Diego Carabobo Esquina Sur 4, Pilita a Retumbaron los Tambores en Honor Mamey, PB. Local 16 a Elegguá y Oshún Telf. (0212) 482.36.88 PRODUCTOS NACIONALES E IMPORTADOS Teléfonos: 0212.481.4416 MAYOR Y DETAL e-mail: [email protected] Gran Bodegón Síguenos en: @ramoelegua @shopping_viking Rif J-41254237-0. Directorio Presidente - Editor Lic. Víctor Moya [email protected] [email protected] Telf: 0414-131.94.92 ¿Debemos Elegir? Director de Administración uando una persona va a casa de un santero o de un Babalawo con [email protected] el objetivo de ser iniciado, él está poniendo muchas de sus esperan- Directorio Ad Honorem zas, muchos de sus deseos y sueños en manos de ese sacerdote. Dirección de Arte Martín Ernesto Díaz Cuando un sacerdote recibe en su casa a alguien que pretende [email protected] Cser iniciado y decide aceptarlo, ese sacerdote tiene ante sí a un sujeto con el Asesor Jurídico que queda obligado a darle lo más sagrado de su vida, que son sus fundamentos Emilio Gioia religiosos; a dejarlo entrar en su comunidad y a dejarlo saber los secretos de [email protected] Osha-Ifá. -
The Role of Sculptures in Yoruba Egungun Masquerade Author(S): R
The Role of Sculptures in Yoruba Egungun Masquerade Author(s): R. O. Rom Kalilu Source: Journal of Black Studies, Vol. 22, No. 1, African Aesthetics in Nigeria and the Diaspora (Sep., 1991), pp. 15-29 Published by: Sage Publications, Inc. Stable URL: http://www.jstor.org/stable/2784494 Accessed: 27-10-2016 14:30 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Sage Publications, Inc. is collaborating with JSTOR to digitize, preserve and extend access to Journal of Black Studies This content downloaded from 141.213.142.215 on Thu, 27 Oct 2016 14:30:22 UTC All use subject to http://about.jstor.org/terms THE ROLE OF SCULPTURES IN YORUBA EGUNGUN MASQUERADE R. 0. ROM KALILU St. Andrew's College of Education A vast body of literature already exists on African sculpture, largely because of the more than century-old fascination it has held for the Western world, which pioneered the study of African arts. The contents of this literature, however, have generated a lot of controversy. Appreciation of the functions of the sculptures has suffered because the initial criticism has largely been done by writers unfamiliar with African cultures.