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Dance, Music, Art, and Religion Edited by Tore Ahlback SCRIPTA INSTITUTI DONNERIANI ABOENSIS

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Dance, Music, Art, and Religion Edited by Tore Ahlback SCRIPTA INSTITUTI DONNERIANI ABOENSIS Dance, Music, Art, and Religion Edited by Tore Ahlback SCRIPTA INSTITUTI DONNERIANI ABOENSIS XVI DANCE, MUSIC, ART, AND RELIGION Based on Papers Read at the Symposium on Dance, Music, and Art in Religions Held at Åbo, Finland, on the 16th-18th of August 1994 Edited by Tore Ahlbäck, Distributed by ALMQUIST & WIKSELL INTERNATIONAL STOCKHOLM, SWEDEN Dance, Music, Art, and Religion Dance, Music, Art, and Religion Based on Papers Read at the Symposium on Dance, Music, and Art in Religions Held at Åbo, Finland, on the 16th-18th August 1994 Edited by Tore Ahlbäck Published by The Donner Institute for Research in Religious and Cultural History Åbo Finland Distributed by Almqvist & Wiksell International Stockholm, Sweden ISSN 0582-3226 ISBN 951-650-834-0 Printed in Finland by Åbo Akademi University Printing Press Turku 1996 Contents Editorial Note 7 DESMOND AYIM-ABOAGYE Art, Music and Religious Experience in Libation Pouring of Akan Religion 9 UMAR HABILA DADEM DANFULANI Rituals as Dance and Dance as Rituals. The Drama of Kok Nji and Other Festivals in the Religious Experience of the Ngas, Mupun and Mwaghavul in Nigeria 27 VALERIE DEMARINIS With Dance and Drum. A Psychocultural Investigation of the Ritual Meaning-Making System of an Afro-Brazilian, Macumba Community in Salvador, Brazil 59 MONICA ENGELHART The Dancing Picture — The Ritual Dance of Native Australians 75 RAGNHILD BJERRE FINNESTAD Images as Messengers of Coptic Identity. An Example from Con- temporary Egypt 91 MARIANNE GÖRMAN The Necklace as a Divine Symbol and as a Sign of Dignity in the Old Norse Conception 111 ANDREAS HAGER Like a Prophet — On Christian Interpretations of a Madonna Video 151 TINA HAMRIN Dance as Aggressiveness 175 KLEMENS KARLSSON Can a Buddha Image be Untrue? The Grahi Buddha and the Way to Make Buddha Images in Southeast Asia 193 INGE DEMANT MORTENSEN Nomad Iconography on Tombstones from Luristan, Iran 219 BRITT-MARI NÄSSTRÖM Magical Music in Old Norse Literature 229 GULLÖG NORDQUIST The Salpinx in Greek Cult 241 JORGEN PODEMANN ~ENSEN Ritual Art: a Key to the Ancient Egyptian Book of the Dead 257 MIKAEL ROTHSTEIN Images of the Mind and Images for the Eye. Ari Iconographical Approach to UFO-Mythology 269 PETER SCHALK The Vallipuram Buddha Image "Rediscovered" 295 J. PETER SÖDERGÄRD Decoding the Hermetic Discourse in Salomon Trismosin's Splendor Solis — A Semiotic Study of Three Ways of Reading 313 MAJ-BRIT WADELL "Everything Created by God Is Pure". The Image of God in Emanuel Vigeland's Programme of Art in His Tomba Emmanuelle in Oslo 345 OWE WIKSTRÖM Darsan (to See) Lord Shiva in Varanasi. Visual Processes and the Representation of God by Seven Ricksha-Drivers 357 ELZBIETA WITKOWSKA-ZAREMBA The Medieval Concept of Music Perception. Hearing, Calculating and Contemplating 369 Biographical Notes 377 Information for Authors Editorial Note The present volume contains the papers delivered at the Donner sympo- sium on Dance, Music, and Art in Religions held in 1994. We hope you will find the new volume useful, despite the broad scope. The organisers of a symposium such as this seem to face a problem that is impossible to solve: either they choose a very specific and regional theme, in which case they end up with a comprehensive and homogeneous volume but the specific theme excludes far too many from delivering a paper and attending the symposium, or they choose a very broad and woolly theme that results in a disparate, heterogeneous volume but gives almost every historian of relig- ion in the Nordic countries a chance to deliver a relevant paper. The Board of the Donner Institute intends to organise a meeting for all — and not just some — Nordic historians of religion every three years. The fact that researchers cannot get funds to attend a congress unless they give a paper is an additional reason for broadening the scope of our Nordic con- ferences. As a consequence, we have a varied collection of papers, but 1 think we can live with that. Our congress volumes are documents illustrating the state of comparative religion in the Nordic countries and serve as a window for the outside world to see what is going on in Scandinavia. The next Donner conference will be held in Åbo/Turku, Finland, on 4-8 August 1997. The theme, "Methodology", should be broad enough by all standards. This will be a regional IAHR conference involving all the Nordic associations for comparative religion, especially the Finnish Association for Comparative Religion. For more information on Scripta Instituti Donneriani Aboensis or to view a complete listing of contents, please visit us at our World Wide Web site at: http://www.aboli/instut/di/scripta.htm. Tore Ahlbäck DESMOND AYIM-ABOAGYE Art, Music and Religious Experience in Li- bation Pouring of Akan Religion The Akans of Ghana are traditionally accustomed to celebrating different rituals which are enshrined in their cultural life. Libation pouring, which accompanies the celebration of great rituals, amidst the subsidence of the sound of music and dance, can display a special art in religion. The primary objective of this paper is to examine libation as a ritual ex- perience, and in so doing to draw attention to its art forms and relevance as regards the psychological significance for the Akan society which prac- tises it. At issue are the following kinds of questions. What do we mean by the term "libation pouring"? What beliefs connect the pouring of libation in Akan society? What are the occasions for practising this ritual? Are there some distinctions in the artistic prayer of libation? These questions lead directly to the proposition which states that libation is able to generate some forms of religious experience. It is then argued that libation ritual has psychological consequences beneficial to the group and the individual who privately engages in it. What is Libation Pouring? Libation pouring is the activity whereby water, alcohol or any beverage, such as wine, is poured on the ground with the intention of invoking the spirits and requesting their assistance (Ayim-Aboagye 1993: 165). Accord- ing to Platvoet, it is a verbal mode of address to one or more "meta- empirical beings" and has the purpose of initiating or maintaining contact with them (Platvoet 1982: 201). Libation pouring signifies an apparent rec- ognition by those who engage in it that they are under the control and di- rection of forces far more "powerful" and "wiser" than themselves. This activity is an acknowledgement by those who practise it that their collec- tive and individual destinies do not lie in their own hands. The responsi- 10 DESMOND AYIM-ABOAGYE bilities are borne by God and the spirits of ancestors (Owusu-Mensa 1990: 3). Libation is one of the commonest practices in Akan worship of the Su- preme Being and the lesser beings or spirits. When any libation is poured, the personal name of the Supreme Being, Kwame, is mentioned first and He is asked to come and drink. The next to be called is the earth, personi- fied as Thursday Earth (Asaase Yaa). After these two come the other Akan deities, ancestral spirits, etc. The drink which is poured on the ground is meant to "cool down the throats" of these deities and prepare them for a much more relaxed posture for hearing the petitions of human beings. Li- bation pouring has the function of welcoming God and the other spirits home into the human world (Owusu-Mensa 1990: 30). An example of libation pouring is quoted by Opoku which portrays a priest inviting the Supreme Being, gods and spirits to wash their hands in preparation for a feast. According to Opoku, the priest recites the following words: Oh Tweaduampon Kwame, Toturobonsu, the rain-maker, Ammaowia-the giver of sunshine, Receive drink, Yaa, the Earth goddess, Receive drink; Nana Ntoa, receive drink; Kyenku god, here is drink for you. When I call one of you I have called all. Ye departed spirits of the seven Akan clans, Receive drink. Today is your lustral day. I have brought you a sheep, drink and new yam. Receive these and visit us This new year with a good harvest, Wealth and prosperity, fertility and long life, Peace and fame and rain and sunshine At their appropriate times. If ever we are called upon To share three things with any other nation, ART, MUSIC AND RELIGIOUS EXPERIENCE... 11 Let us have two. Let the evil one that plans evil for us Receive evil in return (Opoku 1970: 1-31). The Prevalence of Libation Pouring The pouring of libation expresses the sense of dependence on spiritual be- ings. According to Akan' beliefs, the universe is filled with different spiri- tual beings. There is a Great Spirit, the Supreme Being, who created all things, and who reveals his power through his deputies called abosom (Busia 1954: 191). Nyame, the Great Being, is seen as the most important one and He is the one who sustains all. His many honorific titles character- ize Hirn as closely associated with the visible sky and its phenomena, es- pecially the rain. Even though he has withdrawn to the distant sky, He may be approached in prayer by man (Platvoet 1982: 41). The gods who can be approached directly, derive their power from the Supreme Being. They originate from the latter and are parts of him. A god is but the mouthpiece of the Supreme Being, a servant acting as intermediary between Creator and creature. Among these deities, the most powerful are the river-gods (Platvoet 1982: 41). The Akan also worship the nsamanfo, the spirits of the departed ones. They are the ever-present spirits of the ancestors whose constant contact with the life of man on the earth brings the world of the spirits so close to the land of the living.
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