Unveiling the Africanisms in Gem of the Ocean
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AXÉ, ORIXÁ, XIRÊ E MÚSICA: Estudo De Música E Performance No Candomblé Queto Na Baixada Santista
Jorge Luiz Ribeiro de Vasconcelos AXÉ, ORIXÁ, XIRÊ E MÚSICA: Estudo de música e performance no candomblé queto na Baixada Santista Tese apresentada ao Instituto de Artes, da Universidade Estadual de Campinas, para obtenção do Título de Doutor em Música. Orientador: Prof. Dr. José Roberto Zan . Campinas, 2010 FICHA CATALOGRÁFICA ELABORADA PELA BIBLIOTECA DO INSTITUTO DE ARTES DA UNICAMP Vasconcelos, Jorge Luiz Ribeiro de. V441a Axé, orixá, xirê e música: estudo de música e performance no candomblé queto na Baixada Santista. / Jorge Luiz Ribeiro de Vasconcelos. – Campinas, SP: [s.n.], 2010. Orientador: Prof. Dr. José Roberto Zan. Tese(doutorado) - Universidade Estadual de Campinas, Instituto de Artes. 1. Candomblé. 2. Música afro-brasileira. 3. Religiões afro- brasileiras. 4. Música e religião. 5. Etnomusicologia. I. Zan, José Roberto. II. Universidade Estadual de Campinas. Instituto de Artes. III. Título. (em/ia) Título em inglês: “Axé, orixá, xirê and music: a study of music and performance in Candomblé Queto.” Palavras-chave em inglês (Keywords): Candomblé ; afro-brazilian music ; afro-brazilian religions ; music and religion ; ethnomusicology. Titulação: Doutor em Música. Banca examinadora: Prof. Dr. José Roberto Zan. Prof. Dr. Ângelo Nonato Natale Cardoso. Prof. Dr. Vagner Gonçalves da Silva. Prof. Dr. Fernando Augusto de Almeida Hashimoto. Prof. Dr. Antônio Rafael Carvalho dos Santos. Prof. Dr. Alberto Tsuyoshi Ikeda. Prof. Dr. Eduardo Vicente. Prof. Dr. Claudiney Rodrigues Carrasco. Data da Defesa: 30-03-2010 Programa de Pós-Graduação: Música. iv v Aos pais e mães, Julião Vasconcelos (em memória) e Helena Ribeiro de Vasconcelos; Marcos D'Ogun e Sandra D'Eloyá. vii AGRADECIMENTOS Agradeço: Primeiramente ao meu orientador Prof. -
Black Music of All Colors
SÉRIE ANTROPOLOGIA 145 BLACK MUSIC OF ALL COLORS. THE CONSTRUCTION OF BLACK ETHNICITY IN RITUAL AND POPULAR GENRES OF AFRO-BRAZILIAN MUSIC José Jorge de Carvalho Brasília 1993 Black Music of all colors. The construction of Black ethnicity in ritual and popular genres of Afro-Brazilian Music. José Jorge de Carvalho University of Brasília The aim of this essay is to present an overview of the charter of Afro-Brazilian identities, emphasizing their correlations with the main Afro-derived musical styles practised today in the country. Given the general scope of the work, I have chosen to sum up this complex mass of data in a few historical models. I am interested, above all, in establishing a contrast between the traditional models of identity of the Brazilian Black population and their musics with recent attempts, carried out by the various Black Movements, and expressed by popular, commercial musicians who formulate protests against that historical condition of poverty and unjustice, forging a new image of Afro- Brazilians, more explicit, both in political and in ideological terms. To focus such a vast ethnographic issue, I shall analyse the way these competing models of identity are shaped by the different song genres and singing styles used by Afro-Brazilians running through four centuries of social and cultural experience. In this connection, this study is also an attempt to explore theoretically the more abstract problems of understanding the efficacy of songs; in other words, how in mythopoetics, meaning and content are revealed in aesthetic symbolic structures which are able to mingle so powerfully verbal with non-verbal modes of communication. -
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”. -
Racism in August Wilson's Play Gem of the Ocean
RACISM IN AUGUST WILSON’S PLAY GEM OF THE OCEAN KASABE SOMNATH DEVIDAS Research Scholar, Department of English, Shivaji University, Kolhapur MS (INDIA) African American playwright August Wilson has offers significant visions in his plays. Four hundred years ago, Africans were captured by white slavers and shipped across the Atlantic Ocean to the America; they have since then written their traumatic history. African Americans today cannot access their initial tragedy four hundred years ago because those Africans did not have a common language, neither a written language nor a witness. However, this horrifying transatlantic experience has scarred the black psyche. Some racial writers describe this deplorable experience, accusing whites of their malice in causing such inerasable horrific memory in them, for example, Amiri Baraka’s Slave Ship. However, August Wilson in Gem of the Ocean sets an aura on this sad ode of the black trauma, transforming thousands of Africans lying at the bottom of the Atlantic Sea into the Bones people in the shining Bones City singing the song of their triumph. This paper is also analyses the representation of African Americans in the play and how the play transforms the trauma and teaches blacks to rebuild themselves and to reconnect themselves with their history of the slaves‟ voyage in the Middle Passage four hundred years ago. Key words: August Wilson, Gem of the Ocean, Racial. Introduction- August Wilson was born Frederick August Kittel in 1945 in Pittsburgh’s Hill District, where he lived for 33 years. Wilson was the fourth of six children of a white German father and African-American mother. -
"Atotô Obalua Yê Ajuberu"
SAMUEL ABRANTES "ATOTÔ OBALUAYÊ AJUBERU" UM OLHAR SEMIOLÓGICO SOBRE A INDUMENTÁRIA DE OBALUAYÊ. DISSERTAÇÃO DE MESTRADO EM HISTÓRIA DA ARTE . ORIENTADOR: PROF. Dr. FREDERICO AUGUSTO L. DE GÓES . UNIVERSIDADE FEDERAL DO RIO DE JANEIRO CENTRO DE LETRAS E ARTES ESCOLA DE BELAS ARTES RIO DE JANEIRO 1996 ABRANTES, Samuel Sampaio ATOTÔ, Obaluayê Ajuberu. Um olhar semiológico sobre a indumentária de Obaluayê Rio de Janeiro, UFRJ, EBA, 1996. IX, (222 F) Dissertação: Mestrado em História da Arte (Antropologia da Arte) 1 - A arte de vestir o santo 2 - Os signos contidos na Indumentária do Orixá Obaluayê 3 - Cantigas para Obaluayê 4 - A tradição do Candomblé de Ketu na Bahia e no Rio de Janeiro. 1 - Universidade Federal do Rio de Janeiro Orientador: Prof. Dr. Frederico Augusto L. de Góes li - Título III Samuel Sampaio Abrantes ATOTÔ OBALUAYÊ AJUBERU Um olhar semiológico sobre a indumentária de Obaluayê Dissertação submetida à Banca Examinadora da Escola de Belas Artes da Universidade Federal do Rio de Janeiro, como parte dos requisitos necessários à obtenção do Grau do Mestre. Universidade Federal rof8. Dr8 Liana Silveira Universidade Federal do Rio de Janeiro j�ProfB.Dr8��AJ�Virginia de Almeida· {U!_ Universidade Federal de Santa Catarina Rio de Janeiro 1996 IV Ao meu pai V AGRADECIMENTOS - Ao Prof. Frederico Augusto L. de Góes, o estímulo primeiro, a orientação e a liberdade de pesquisa; - A Prof& Liana Silveira, o exemplo e a iniciação do olhar Antropológico sobre a cultura afro-brasileira; - A Prof& Teresa Virgínia de Almeida, o apoio de todas as horas e a capacidade de vislumbrar a temporalidade do tema e da pesquisa; - Ao Corpo Docente do Mestrado da UFRJ, em especial às professoras Helenise Guimarães, Sonia Gomes Pereira, Ana Maria Alencar e ao Prof. -
Aunt Ester in Gem of the Ocean by August Wilson
DISCOVERING AUNT ESTER IN GEM OF THE OCEAN BY AUGUST WILSON By ANEDRA D. JOHNSON SUPERVISORY COMMITTEE: CHRISTINA (TIZA) GARLAND DAVID YOUNG A PROJECT PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF FINE ARTS UNIVERSITY OF FLORIDA 2011 © 2010 Anedra D. Johnson ii ACKNOWLEDGEMENTS To my Merciful Father, thank you for seeing me through. For every moment I contemplated giving up, you stepped right in and provided me with even more strength to keep pushing. To my mother, I am so blessed to call you my angel. Thank you for your encouraging words, your unconditional love, your sternness, your prayers, and your blessings. Thank you for your never ending support and all of your sacrifices. Thank you for sharing this experience with me and guiding me every step of the way. I‟m eternally grateful. To my siblings, Anthony and Adrian, thank you for supporting me and believing in me, even when I found it hard to believe in myself. I love you guys a million times and more. To Larry, thank you for your love and kindness, especially when I was under high stress. I am so grateful to have you in my life. Thank you for sharing this journey with me and I look forward to what lies ahead. I love you with all my heart. To Ms. Marie, thank you for being my mother away from home and a great support system, I can not thank you enough. To the faculty and staff of the University of Florida, I appreciate your criticism, direction, and guidance. -
Cultural Heritage Resources of the New Oyo Empire, Southwestern Nigeria: Prospects for Sustainability Titilayo O
African Diaspora Archaeology Newsletter Volume 13 Article 5 Issue 4 December 2010 12-1-2010 Cultural Heritage Resources of the New Oyo Empire, Southwestern Nigeria: Prospects for Sustainability Titilayo O. Olukole Redeemer's University, [email protected] Follow this and additional works at: https://scholarworks.umass.edu/adan Recommended Citation Olukole, Titilayo O. (2010) "Cultural Heritage Resources of the New Oyo Empire, Southwestern Nigeria: Prospects for Sustainability," African Diaspora Archaeology Newsletter: Vol. 13 : Iss. 4 , Article 5. Available at: https://scholarworks.umass.edu/adan/vol13/iss4/5 This Articles, Essays, and Reports is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in African Diaspora Archaeology Newsletter by an authorized editor of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Omer Cooper J (1971) December 2010 Newsletter Cultural Heritage Resources of the New Oyo Empire, Southwestern Nigeria: Prospects for Sustainability By Titilayo O. Olukole* Abstract In this project I employed a multidisciplinary approach involving ethnographic and reconnaissance surveys to investigate, identify, and classify potential New Oyo empire sites as cultural heritage resources. The New Oyo empire was located in southwestern Nigeria about 130 km south of the Old Oyo, and 55 km north of Ibadan. Following the decline of the Old Oyo empire in 1837 the New Oyo developed and shared similarities with facets of the Old Oyo. Yet, the New Oyo empire was distinct from its predecessor as a result of environmental changes, relocation, and shifts in urbanization. My work here reveals that a number of the cultural heritage resources of Yoruba-speaking people and the New Oyo empire have not been investigated or otherwise suffer neglect. -
Aje-Olokun As a Deity for Swearing Among the Yoruba Natives
Originalni nauni rad UDK: 259.42–145.6:343.145 Matthias Olufemi Dada Ojo1 Department of Sociology Crawford University of the Apostolic Faith Mission Igbesa, Ogun state, Nigeria AJE-OLOKUN AS A DEITY FOR SWEARING AMONG THE YORUBA NATIVES Abstract: Using historical approach and qualitative methods, the paper examines the power of Aje-Olokun as a deity for swearing among the Yoruba natives. The article identified and explained three different methods through which invocation of Aje- Olokun can be done during swearing in order to solve controversial issues with regard to lying and stealing. The consequences of swearing falsely were also discussed. The paper also proposes cultural documentation of the traditional administration of Justice through deities for the preservation of knowledge for future generations. The admini- stration of the traditional swearing methods through deities was advocated to be incor- porated in the modern Criminal Justice System. The research investigation of other deities and their relevancies in administration of justice was also recommended. Keywords: Aje-Olokun; Deities; Yoruba Natives; Swearing; Criminal Justice System Introduction Yoruba natives believe strongly in the existence of deities. These deities play significant roles in their lives in all ramifications. They seek help for abun- dance and prosperity from some of these deities and run to them when misfortu- nes dodged their ways. These people equally looked up to these deities for pro- tection and guidance when important decisions have to be made. The deities al- so featured in their traditional Criminal Justice System in area of punishment of the offenders and oath taking to settle a controversial issue among them. -
Samuel Johnson on the Egyptian Origin of the Yoruba
SAMUEL JOHNSON ON THE EGYPTIAN ORIGIN OF THE YORUBA by Jock Matthew Agai A thesis submitted to the University of KwaZulu-Natal, Pietermaritzburg, South Africa, for the degree of Doctor of Philosophy November 2016 Declaration I, Jock Matthew Agai, hereby declare that ‘SAMUEL JOHNSON ON THE EGYPTIAN ORIGIN OF THE YORUBA’ is my own original work, and that it has not been previously accepted by any other institution for the award of a degree, and that all quotations have been distinguished by quotation mark, and all sources of information have been duly acknowledged. __________________________ Jock Matthew Agai (Student) ______________________ Professor Phillippe Denis (Supervisor) 30 November 2016 i Dedication This research is dedicated to my grandmother, the late Ngo Margaret alias Nakai Shingot, who passed away in 2009, during which time I was preparing for this research. She was my best friend. May her gentle soul rest in peace. ii Thesis statement The Yoruba oral tradition, according to which the original ancestors of the Yoruba originated from the “East,” was popular in Yorubaland during the early 19th century. Before the period 1846 to 1901, the East was popularly perceived by the Yoruba as Arabia, Mecca or Saudi Arabia. Samuel Johnson (1846-1901) mentioned that Mohammed Belo (1781-1837) was among the first Africans to write that the East meant Arabia, Mecca or Saudi Arabia. He contested the views of associating the East with a Muslim land or a Muslim origin. In contrast to these views, Johnson believed that the East actually meant Egypt. This thesis presents research into Samuel Johnson’s contribution towards the development of the tradition of Egyptian origins of the Yoruba. -
The Lost Tribes of Israel”
ANTHROPOS 106.2011: 579 – 595 Origin of the Yoruba and “The Lost Tribes of Israel” Dierk Lange Abstract. – On the basis of comparative studies between the ademic African historiography in connection with dynastic tradition of the Ọyọ-Yoruba and ancient Near Eastern the independence of African states around 1960, history, the present article argues that Yoruba traditions of prov- scholars relied more directly on the available tra- enance, claiming immigration from the Near East, are basically correct. According to Ọyọ-Yoruba tradition, the ancestral Yor- ditions of Yoruba origin and they did some com- uba saw the Assyrian conquests of the Israelite kingdom from parative research between Yoruba, ancient Mediter- the ninth and the eighth centuries b.c. from the perspective of ranean and Israelite cultures. On the basis of this the Israelites. After the fall of Samaria in 722 b.c., they were evidence they suggested that the Yoruba immigrat- deported to eastern Syria and adopted the ruling Assyrian kings as their own. The collapse of the Assyrian empire is, however, ed from far away: either from Phoenicia, the Medi- mainly seen through the eyes of the Babylonian conquerors of terranean world, Egypt, or Nubia (Biobaku 1955: Nineveh in 612 b.c. This second shift of perspective reflects the 8 – 13; Lange 1995: 40 – 48). If any of these supposi- disillusionment of the Israelite and Babylonian deportees from tions could be shown to be true and present opinion Syria-Palestine towards the Assyrian oppressors. After the defeat to be ideologically biased, it would mean that a cul- of the Egypto-Assyrian forces at Carchemish in Syria in 605 b.c. -
Redalyc.Religion and Black Cultural Identity. Roman Catholics, Afro
VIBRANT - Vibrant Virtual Brazilian Anthropology E-ISSN: 1809-4341 [email protected] Associação Brasileira de Antropologia Brasil Gonçalves da Silva, Vagner Religion and black cultural identity. Roman Catholics, Afro-Brazilians and Neopentecostalism VIBRANT - Vibrant Virtual Brazilian Anthropology, vol. 11, núm. 2, diciembre, 2014, pp. 210-246 Associação Brasileira de Antropologia Brasília, Brasil Available in: http://www.redalyc.org/articulo.oa?id=406941918008 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Religion and black cultural identity Roman Catholics, Afro-Brazilians and Neopentecostalism Vagner Gonçalves da Silva Abstract Over the last decade, a number of religious groups have assumed differing positions on the relationship between ‘black identity’ and religion. In this article, I intend to present some of the tendencies in the current debate between the Afro-Brazilian religions and the black Roman Catholic and Evangelical movements. I suggest that this debate be constructed from positions engendered from the interrelationships of these groups and from the policies for promoting the legacy of African symbols as a part of Brazil’s national heritage. Keywords: Afro-Brazilian religions, Catholicism, evangelicals, black move- ment, Afro-Brazilian Ministry, black identity, ethnicity. 210 vibrant v.11 n.2 vagner gonçalves da silva Religion and black cultural identity Roman Catholics, Afro-Brazilians and Neopentecostalism Vagner Gonçalves da Silva This article is dedicated to the memory of Rita Amaral Introduction During the last few years I have been working on a research project, the object of which is to analyze the role that the Afro-Brazilian religions and their symbols have played in the construction of Brazil’s national identity in general, and of black groups in particular1. -
The Piano Lesson Audition Packet Hello
The Piano Lesson Audition Packet Hello. This packet is full of everything you need in order to audition for ETHS’ production of The Piano Lesson that performs in February. Here, you can find: 1) Audition Information 2) About August Wilson 3) Play Information 4) Character Descriptions 5) Audition Monologues 6) Audition Form and Schedule Audition Information Auditions are Thursday, November 1st, from 4-6p. Students should be prepared to share at least a 30 second monologue (see below). Scripts are available as a resource and for checkout in the Fine Arts office. If you choose to audition, you can sign up for a five-minute slot here at https://www.signupgenius.com/go/10c0c4daea62ca5f49-auditions1 That five-minute slot is a chance to read your audition piece (again, available in part five of this packet). About August Wilson August Wilson (1945-2005) was a Pulitzer Prize winning playwright whose most famous work was a series of plays called The Pittsburgh Cycle/Century Cycle. He won the Pulitzer Prize in 1985 for Fences – which also received a Tony Award – and in 1990 for The Piano Lesson. Fences was recognized further for the recent production featuring Denzel Washington and Viola Davis with three Tony Awards in 2010 for Best Revival of a Play, Best Performance by an Actor in a Play and Best Performance by an Actress in a Play. Following his death in 2005 the Virginia Theatre in New York/Broadway was renamed in his honor and is the first Broadway theatre to be named after an African-American. He is also honored by the August Wilson Center for African American Culture in Pittsburgh and August Wilson Way in Seattle.