Spiritual Journeys: a Study of Ifá/Òrìṣà Practitioners in the United States Initiated in Nigeria

Total Page:16

File Type:pdf, Size:1020Kb

Spiritual Journeys: a Study of Ifá/Òrìṣà Practitioners in the United States Initiated in Nigeria SPIRITUAL JOURNEYS: A STUDY OF IFÁ/ÒRÌṢÀ PRACTITIONERS IN THE UNITED STATES INITIATED IN NIGERIA TONY VAN DER MEER A DISSERTATION Submitted to the Ph.D. in Leadership and Change Program of Antioch University in partial fulfillment of the requirements for the degree of Doctor of Philosophy February, 2017 This is to certify that the Dissertation entitled: SPIRITUAL JOURNEYS: A STUDY OF IFÁ/ÒRÌṢÀ PRACTITIONERS IN THE UNITED STATES INITIATED IN NIGERIA prepared by Tony Van Der Meer is approved in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Leadership and Change. Approved by: ______________________________________________________________________ Philomena Essed, Ph.D., Chair date ______________________________________________________________________ Laura Morgan Roberts, Ph.D., Committee Member date ______________________________________________________________________ Tim Sieber, Ph.D., Committee Member date Copyright 2017 Tony Van Der Meer All rights reserved Acknowledgements Completing a dissertation requires a time where one has to get in flow and sacrifice time to spend with family and friends. It is also a time when you pull from other people who sacrifice their time from their family and friends in order to assist you. But before I thank those who are still living in the present with us, I would like to acknowledge all of my close relationships with people who have departed and my ancestors, those known and unknown for the sacrifices they made for me and others to have the privilege to be able to do a PhD dissertation. Many of those persons had no degrees and some where barely literate. Yet they endured the hardships and indignities so that I and others would have a chance at a better life. A special acknowledgement to my mother Lilly Price; my Father Rudy Van Der Meer: My second mother Rosalina Wartes; my grandmother Sadie Morgan, my sisters, Regina Price, Elizabeth Togbah; my brother Reggie Brooks; my aunts, Gonda, Irene, and Betsy Van Der Meer; my uncles Lutie and Henny Van Der Meer; my sister-cousin Ingrid Van Der Meer; my mother-inlaw, Momma Zoila Lee, my secondary school Principal Robert Dotson; my high school Guidance Councelor and good friend Eve Foreman, and her husband Robert Foreman; my good childhood friends Alvin Jessamy, and Sharon Offut; my comrade Eugene Godfried; and to my High School and College girl friends who left us to soon: Debbie Timbrouck and Vastoria Grant. To all of them I say Mo dupe (Thank You!), your sacrifices were not in vain. To those who are still with us in the present, I want to thank my children: Heather, Damali, January, Makeda, Marcus Mandela, Babatunji, and Kayataina for teaching me from the challenges we shared. Thanks to Maria Clemencia Lee for helping me and all of my children stay grounded, and to Everlyn Watkins for being a good friend and mother. i To my teachers and comrades who help transform my life: Dr. Ken Edison, Dr. Ramona Edelin, Dr. Greg Ricks, Alzonson Speight, Awo Rhett Lewis, Donnell Cussac, Stephen Eaton, Berly Bailey, Makeda Gwendolyn Smith, Selwyn Carter, Awo Aukram Burton, Awo Zaid Haynes, Dr. Muhammad Ahmad (Maxwell Stanford, Jr.), Saladin Muhammad (Phillip White), Naeema Muhammad (Patricia White), Shafeah M’Balia, Askia Toure (Roland Snellings), Dr. Jemadari Kamara, and the late Queen Mother Moore. Special thanks go out the all my research partiticipants for opening up their homes to me and sharing their experiences: Babaláwo Fatóòjolá Ajala Aukram Burton, Ìyánífá Ifájọkẹ́ Nefertiti Burton, Babaláwo Babatunde Gregory Anderson, Babaláwo Aikulola Nathan Lugo, Ìyánífá Ajiṣẹbọ Michelle Abímbọ́lá, Babaláwo C. Awólọ́wọ̀ Johnson, Babaláwo Adeyemi Michael Lythcott, and Ìyánífá Ifálobá Mawakana Onífádé. It is also important to acknowledge all of the practitioners in the Diaspora in the various systems of Ifá/Òrìṣà practice who carried on the tradition. Thank you to my colleagues Dr. Sylvia Assante, and Dr. Janice Ferguson for checking up on me and encouraging me to stay focus. Thank you to Dr. Wandé Abímbọ́lá and my colleague Dr. Tim Sieber for their mentorship in my Individual Learning Achievements (ILA) in my research respectively on the history and origins of Ifá/Òrìṣà belief system, and ethnographic research methods. Thank you to Antioch librarian extraordinaire, Deborah Baldwin and, my editor, Dr. Norman Dale. Finally, a big thank you to my Advisor and the Chair of my dissertation committee, Dr. Philomena Essed, for helping me navigate the various phases of my PhD journey and the dissertation process. Also, thank you to the other members of my dissertation committee: Dr. Laura Morgan Roberts; my colleague, Dr. Tim Sieber, and my external reader, Dr. Deidra ii Badejo for their insightful questions and comments helping me to bring out broader and clearer perspectives in my research. iii Dedication Dedicated to Walter Van Der Meer (1957–1969) iv Abstract The purpose of this study is to understand the culture of one of the newest branches of traditional Yorùbá Ifá/Òrìṣà practice in the United States from practitioners born in the United States that were initiated in Nigeria, West Africa. The epistemology of the Ifá/Òrìṣà belief system in the United States has been based on the history and influence of Regla de Ocha or Santeria that developed out of Cuban innovation and practice. This is an ethnographic and auto-ethnographic study that pulls from participant observation, field notes, interviews, and photos as data.The central question of this dissertation is what are the challenges and opportunities for this branch of practitioners in the United States who were initiated in the Ifá/Òrìṣà practice in Nigeria? Some of the main findings indicate that the opportunities include: opening doors intellectually and spiritually about African philosophical thought and ethics were that: it instills a sense of spiritual discipline; it lays the foundation, giving confidence that one can achieve what they set their minds to; and, it offers spiritual technologies and systems that are liberating and relevant in the Unites States in terms of identity, direction, and purpose. Some of the challenges included: a rugged Nigerian experience, and cultural change; a transformative experience from the initiation rituals; understanding and learning the Yorὺbá language; and, the contradiction of Africa being the idea of utopia. The challenges in the United States also included: understanding and learning the Yorὺbá language; understanding the different systems of practice in the Ifá/Òrìṣà belief system; the role of women as Ifá priests; ecological concerns in disposing ritual sacrifices; accessibility to traditional (African) ritual items; issues of acceptance, inclusion, and exclusion on the basis of race, gender, and sexual identities from other systems of Ifá/Òrìṣà practice; and, developing new communities of practice base on the experiences of this newest branch of practitioners. v Table of Contents Acknowledgements ..................................................................................................................... i Dedication .................................................................................................................................. iv Abstract ....................................................................................................................................... v Table of Contents ....................................................................................................................... vi List of Tables ............................................................................................................................. ix List of Figures ............................................................................................................................. x Chapter I: Introduction ............................................................................................................... 1 The Journey ............................................................................................................................ 1 Situating the Researcher ........................................................................................................ 3 Purpose of the Study .............................................................................................................. 5 Ifá/Òrìṣá Revival Towards Spiritual Reconnection Through Initiation in Nigeria ............... 6 Research Question ................................................................................................................. 7 Innovation ............................................................................................................................ 10 Wàndé Abímbọ́lá as Innovator ........................................................................................ 12 Learning as a Mode of Innovation ................................................................................... 17 Ifá/Òrìṣá Practice as Transformation ................................................................................... 22 Ethics in Research ................................................................................................................ 23 Summary .............................................................................................................................. 23 Chapter II: Literature Review ................................................................................................... 25 Ifá/Òrìṣá Belief System .......................................................................................................
Recommended publications
  • Batá Drumming, Ifá Divination, and Orisha Worship in Cuba Michael Marcuzzi
    Document generated on 09/25/2021 1:34 a.m. Canadian University Music Review Revue de musique des universités canadiennes Dancing with the Divine(r): Batá Drumming, Ifá Divination, and Orisha Worship in Cuba Michael Marcuzzi Canadian Perspectives in Ethnomusicology Article abstract Perspectives canadiennes en ethnomusicologie This paper is an examination of similarities between batá drumming and Ifá Volume 19, Number 2, 1999 divination among the Afrocuban socio-religious group, Lukumí. Primarily addressing the use of diametrically opposed social actions within each of these URI: https://id.erudit.org/iderudit/1014448ar practices, the paper maintains that this juxtaposition of opposites is a DOI: https://doi.org/10.7202/1014448ar constituent characteristic of divining modes—be they interpretive or mediumistic—in effecting suprahuman communication. The paper purports the necessity to examine batá drumming as a divination system; thus, it argues See table of contents the need for an expanded construct of divination that can readily include musical behaviours such as possession induction. Publisher(s) Canadian University Music Society / Société de musique des universités canadiennes ISSN 0710-0353 (print) 2291-2436 (digital) Explore this journal Cite this article Marcuzzi, M. (1999). Dancing with the Divine(r): Batá Drumming, Ifá Divination, and Orisha Worship in Cuba. Canadian University Music Review / Revue de musique des universités canadiennes, 19(2), 70–78. https://doi.org/10.7202/1014448ar All Rights Reserved © Canadian University Music Society / Société de musique This document is protected by copyright law. Use of the services of Érudit des universités canadiennes, 1999 (including reproduction) is subject to its terms and conditions, which can be viewed online.
    [Show full text]
  • Universidade Federal Do Rio De Janeiro Silvia Barbosa De
    UNIVERSIDADE FEDERAL DO RIO DE JANEIRO SILVIA BARBOSA DE CARVALHO O MUNDO E SEUS MUNDOS: Poder feminino, memória e tradição entre mulheres da Sociedade Òșòròngá no Rio de Janeiro Rio de Janeiro 2019 Silvia Barbosa de Carvalho O MUNDO E SEUS MUNDOS: Poder feminino, memória e tradição entre mulheres da Sociedade Òșòròngá no Rio de Janeiro Tese de Doutorado apresentada ao Programa de Pós-Graduação em Psicossociologia de Comunidades e Ecologia Social do Instituto de Psicologia, na Universidade Federal do Rio de Janeiro, como parte dos requisitos necessários à obtenção do título de Doutora em Psicologia (Psicossociologia de Comunidades e Ecologia Social). Orientadora: Professora Doutora Samira Lima da Costa Rio de Janeiro, 2019 FICHA CATALOGRÁFICA Carvalho, Silvia Barbosa de CC331m O MUNDO E SEUS MUNDOS: Poder feminino, memória e tradição entre mulheres da Sociedade Òșòròngá no Rio de Janeiro / SILVIA BARBOSA DE CARVALHO. -- Rio de Janeiro, 2019. 237 f. Orientadora: SAMIRA LIMA DA COSTA. Tese (doutorado) - Universidade Federal do Rio de Janeiro, Instituto de Psicologia, Programa de Pós Graduação em Psicossociologia de Comunidades e Ecologia Social, 2019. 1. IYAMI OSORONGA. 2. PODER FEMININO. 3. MITOS. 4. MISTÉRIOS. I. COSTA, SAMIRA LIMA DA, orient. II. Título. Elaborado pelo Sistema de Geração Automática da UFRJ com os dados fornecidos pelo (a) autor(a), sob a responsabilidade de Miguel Romeu Amorim Neto - CRB-7/6283. AGRADECIMENTOS A vida é feita de trocas e encontros, são tantos, que não cabem no papel nem no coração. Correndo o risco de pecar ao nomeá-los, faço aqui reverência a todos eles, que foram, são fundamentais e contribuíram para que eu chegasse até aqui.
    [Show full text]
  • P E E L C H R Is T Ian It Y , Is L a M , an D O R Isa R E Lig Io N
    PEEL | CHRISTIANITY, ISLAM, AND ORISA RELIGION Luminos is the open access monograph publishing program from UC Press. Luminos provides a framework for preserving and rein- vigorating monograph publishing for the future and increases the reach and visibility of important scholarly work. Titles published in the UC Press Luminos model are published with the same high standards for selection, peer review, production, and marketing as those in our traditional program. www.luminosoa.org Christianity, Islam, and Orisa Religion THE ANTHROPOLOGY OF CHRISTIANITY Edited by Joel Robbins 1. Christian Moderns: Freedom and Fetish in the Mission Encounter, by Webb Keane 2. A Problem of Presence: Beyond Scripture in an African Church, by Matthew Engelke 3. Reason to Believe: Cultural Agency in Latin American Evangelicalism, by David Smilde 4. Chanting Down the New Jerusalem: Calypso, Christianity, and Capitalism in the Caribbean, by Francio Guadeloupe 5. In God’s Image: The Metaculture of Fijian Christianity, by Matt Tomlinson 6. Converting Words: Maya in the Age of the Cross, by William F. Hanks 7. City of God: Christian Citizenship in Postwar Guatemala, by Kevin O’Neill 8. Death in a Church of Life: Moral Passion during Botswana’s Time of AIDS, by Frederick Klaits 9. Eastern Christians in Anthropological Perspective, edited by Chris Hann and Hermann Goltz 10. Studying Global Pentecostalism: Theories and Methods, by Allan Anderson, Michael Bergunder, Andre Droogers, and Cornelis van der Laan 11. Holy Hustlers, Schism, and Prophecy: Apostolic Reformation in Botswana, by Richard Werbner 12. Moral Ambition: Mobilization and Social Outreach in Evangelical Megachurches, by Omri Elisha 13. Spirits of Protestantism: Medicine, Healing, and Liberal Christianity, by Pamela E.
    [Show full text]
  • 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
    [Show full text]
  • 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.
    [Show full text]
  • As an Expression of Yorùbá Aesthetic Philosophy
    ISSN 2039-2117 (online) Mediterranean Journal of Vol 9 No 4 ISSN 2039-9340 (print) Social Sciences July 2018 Research Article © 2018 Ajíbóyè et.al.. This is an open access article licensed under the Creative Commons Attribution-NonCommercial-NoDerivs License (http://creativecommons.org/licenses/by-nc-nd/3.0/). Orí (Head) as an Expression of Yorùbá Aesthetic Philosophy Olusegun Ajíbóyè Stephen Fọlárànmí Nanashaitu Umoru-Ọ̀ kẹ Department of Fine and Applied Arts, Obafemi Awólọ́ wọ University, Ile-Ife, Nigeria Doi: 10.2478/mjss-2018-0115 Abstract Aesthetics was never a subject or a separate philosophy in the traditional philosophies of black Africa. This is however not a justification to conclude that it is nonexistent. Indeed, aesthetics is a day to day affair among Africans. There are criteria for aesthetic judgment among African societies which vary from one society to the other. The Yorùbá of Southwestern Nigeria are not different. This study sets out to examine how the Yorùbá make their aesthetic judgments and demonstrate their aesthetic philosophy in decorating their orí, which means head among the Yorùbá. The head receives special aesthetic attention because of its spiritual and biological importance. It is an expression of the practicalities of Yorùbá aesthetic values. Literature and field work has been of paramount aid to this study. The study uses photographs, works of art and visual illustrations to show the various ways the head is adorned and cared for among the Yoruba. It relied on Yoruba art and language as a tool of investigating the concept of ori and aesthetics. Yorùbá aesthetic values are practically demonstrable and deeply located in the Yorùbá societal, moral and ethical idealisms.
    [Show full text]
  • DIVINATION SYSTEMS Written by Nicole Yalsovac Additional Sections Contributed by Sean Michael Smith and Christine Breese, D.D
    DIVINATION SYSTEMS Written by Nicole Yalsovac Additional sections contributed by Sean Michael Smith and Christine Breese, D.D. Ph.D. Introduction Nichole Yalsovac Prophetic revelation, or Divination, dates back to the earliest known times of human existence. The oldest of all Chinese texts, the I Ching, is a divination system older than recorded history. James Legge says in his translation of I Ching: Book Of Changes (1996), “The desire to seek answers and to predict the future is as old as civilization itself.” Mankind has always had a desire to know what the future holds. Evidence shows that methods of divination, also known as fortune telling, were used by the ancient Egyptians, Chinese, Babylonians and the Sumerians (who resided in what is now Iraq) as early as six‐thousand years ago. Divination was originally a device of royalty and has often been an essential part of religion and medicine. Significant leaders and royalty often employed priests, doctors, soothsayers and astrologers as advisers and consultants on what the future held. Every civilization has held a belief in at least some type of divination. The point of divination in the ancient world was to ascertain the will of the gods. In fact, divination is so called because it is assumed to be a gift of the divine, a gift from the gods. This gift of obtaining knowledge of the unknown uses a wide range of tools and an enormous variety of techniques, as we will see in this course. No matter which method is used, the most imperative aspect is the interpretation and presentation of what is seen.
    [Show full text]
  • DRAMA AS POPULAR CULTURE in AFRICA by Unionmwan Edebiri Philippe Van Tieghem Opens His Book, Technique Du Thestre, with the Asse
    DRAMA AS POPULAR CULTURE IN AFRICA By Unionmwan Edebiri Philippe Van Tieghem opens his book , Technique du TheStre, with the assertion that the text is the essence of a drama per­ formance. As he puts it: Dans une rep~sentation dramatique, •.. le texte reste la mati~re premi~re sans laquelle ce genre de spec­ tacle ne saurait exister.l He is even more pungent and categorical when, a few pages later, he writes: "Pas de theatre sans texte."2 This is not Tieghem's idiosyncracy; in spite of Artaud and the other Western exponents of non-verbal drama, the view expressed here by Tieghem is shared by most critics in Europe and America. These critics regard the text not as just the starting point and the permanent record of a play, but also as a major determinant of its stage success. A corollary of the view that a text is a prerequisite for drama is that drama can only exist in literate societies. This is patently untrue, for drama is not an exclusive activity of literate societies. It is not concomitant with literacy or econ­ omic advancement. Indeed , it is an activity which is common to human societies irrespective of their levels of education, scien­ tific or economic development. As Oscar G. Brockett has rightly observed: Theatrical and dramatic elements are present in everg societg, no matter how complex or unsophisticated it is. These elements are as evident in our own politi­ cal campaigns, parades, sports events, religious ser­ vices, and children's make-believe as theg are in the dances and ceremonies of primitive peoples.3 In this regard .
    [Show full text]
  • 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.
    [Show full text]
  • Divination, According to the Routledge Encyclopaedia
    INTRODUCTION1 n Divination, according to the Routledge Encyclopaedia of Social and Cultural Anthropology, comprises ‘culturally sanctioned methods of arriving at a judge- ment of the unknown through a consideration of incomplete evidence’ (Willis 2012: 201). In Chinese, it is often referred to as ‘calculating fate’ (suanming 算命). In this ethnography, divination mainly refers to the multiple forms of Chinese divination using traditional techniques without involving communication with gods and other beings. Its text-based knowledge with a coherent system of symbols and a naturalist ontology are a result of centuries of development. Two reactions were common during my fieldwork on divination. Often, people would laugh when they heard the topic of my research; several people would gather around, and the whole circle would burst into laughter. However, when it was a private chat with two or three people, their response was, ‘Ha-ha! You study fate calculation?!’ But they usually showed great interest after their initial chuckle and would ask me, ‘Do you think it is accurate?’ Another commonplace event was that whenever I met a diviner for the first time, he or she always talked eloquently for hours to convey the positive meaning of their vocation, such as the grand role divination has played in Chinese culture, and the accuracy of their predictions. Anthropologists studying Chinese popular religion often have to deal with ‘people’s insouciant attitude toward explicit interpretation’ (Weller 1994: 7); my informants, on the contrary, had a strong motivation to offer me the meaning of their practice and did it eloquently with an ‘interpretative noise’ through their constant bragging and legitimation efforts.
    [Show full text]
  • Surviving and Thriving in a Hostile Religious Culture Michelle Mitchell Florida International University, [email protected]
    Florida International University FIU Digital Commons FIU Electronic Theses and Dissertations University Graduate School 11-14-2014 Surviving and Thriving in a Hostile Religious Culture Michelle Mitchell Florida International University, [email protected] DOI: 10.25148/etd.FI14110747 Follow this and additional works at: https://digitalcommons.fiu.edu/etd Part of the New Religious Movements Commons Recommended Citation Mitchell, Michelle, "Surviving and Thriving in a Hostile Religious Culture" (2014). FIU Electronic Theses and Dissertations. 1639. https://digitalcommons.fiu.edu/etd/1639 This work is brought to you for free and open access by the University Graduate School at FIU Digital Commons. It has been accepted for inclusion in FIU Electronic Theses and Dissertations by an authorized administrator of FIU Digital Commons. For more information, please contact [email protected]. FLORIDA INTERNATIONAL UNIVERSITY Miami, Florida SURVIVING AND THRIVING IN A HOSTILE RELIGIOUS CULTURE: CASE STUDY OF A GARDNERIAN WICCAN COMMUNITY A thesis submitted in partial fulfillment of the requirements for the degree of MASTER OF ARTS in RELIGIOUS STUDIES by Michelle Irene Mitchell 2014 To: Interim Dean Michael R. Heithaus College of Arts and Sciences This thesis, written by Michelle Irene Mitchell, and entitled Surviving and Thriving in a Hostile Religious Culture: Case Study of a Gardnerian Wiccan Community, having been approved in respect to style and intellectual content, is referred to you for judgment. We have read this thesis and recommend that it be approved. _______________________________________ Lesley Northup _______________________________________ Dennis Wiedman _______________________________________ Whitney A. Bauman, Major Professor Date of Defense: November 14, 2014 The thesis of Michelle Irene Mitchell is approved.
    [Show full text]
  • Promoting Nigerian Cultural Heritage Through the Costume and Make-Up of Duroladipo's O.Bakň So Production
    101 INSANIAH: Online Journal of Language, Communication, and Humanities Volume 3 (1), April 2020 PROMOTING NIGERIAN CULTURAL HERITAGE THROUGH THE COSTUME AND MAKE-UP OF DUROLADIPO'S ỌBAKÒ SO PRODUCTION Shuaib, Shadiat Olapeju, Ph.D. [email protected] Department of Performing Arts, University of Ilorin, Ilorin, Nigeria ABSTRACT Culture is a dynamic phenomenon that can be regarded as the ways of living built up by a group of people overtime and transmitted from one generation to another. This points to the fact that, culture varies from one society to another. Unfortunately, the cultural practices of many societies across the globe have been eroded through acculturation and other militating factors leading to partial neglect or total extinction of such cultural heritage in the affected societies. To this end, this paper adopted analytical, historical and descriptive research methods through primary and secondary data to highlight theatrical parlance as cogent platform of cultural revival and transmission in the society by examining the role of theatre costume and make-up in reviving and promoting the rich cultural heritage of the Nigerian people in the production of Duro Ladipo's Ọba Kòso. Among other findings, the study revealed that the message of the production was creatively harnessed and effectively transmitted to the audience through the articulated theatrical elements because they artistically and aesthetically characterised the actors and projected the rich cultural history of the Yoruba people of Southwestern Nigeria to audience through the trademark of their cultural heritage exemplified in indigenous fabrics, bead works, hair styles, cosmetic products amongst others. The paper therefore recommended that the aforementioned artifacts should be revamped, preserved and promoted for local and international use so as to cater for the cultural, social and economic needs of the Nigerian people and attract cultural tourism through the exportation of these goods to other countries.
    [Show full text]