AAAS 342: music, religion and ritual in
africa—GUIDES
ASSIGNMENTS, HANDOUTS
Caveat: Stay with the top items that are
current with SPIRNG 04 class:
SPRING 04
Assignment 1 (March-April): TAKE A TOUR OF AFRICAN MUSIC
FROM HERE (BBC SITE) (Make sure you scroll down the page to choose a region, instrument,
etc.)
FINAL EXAM—SPR 04 WHAT TO PREPARE FOR
PREPARING
FOR MID-TERM ON MAY 10
Reading
ASSIGNMENT/QUESTIONS FOR WEEK 5
ONLINE
ASSIGNMENT—MASKS/TWINS/INITIATION/ANCESTORS
Assignment
2 REVIEW FOR QUIZ 1
Reading
ASSIGNMENT/QUESTIONS FOR WEEK 3-4
FOR FINAL EXAMS, AAAS 342-- WHAT TO PREPARE FOR
1.
Define 15 of the following 20 terms, one sentence each:
DIVINATION
SHANGO
ANTHROPOMORHISM
GLOSSOLALIA NEOPHYTE
FLAGELLATION
COWRIE
SYNCRETISM
REINCARNATION
LIMINAL ANIMISM
PANTHEON
JÙJÚ SYMBOL [in
relation to a SIGN]
THRESHOLD
SYMBOLIC INVERSION
SUFISM
TUMBUKA
EWE YORUBA
2. Drawing on specific
examples discussed in class and also from chapter 9 of the coursepack, “Construction and Manipulation of
Temporal Structures in Yeve Cult [shango] Music,” pp. 157-163:
A: Give
detailed examples of how the Yeve/shango religion, regulations, and membership
rituals and beliefs illustrate the classic ideas of SEPARATION, TRANSITION REINTEGRATION
B: In at least three sentences describe how MUSIC/MUSICAL INSTRUMENTS/COSTUME are closely identified with (or make unique) Yeve/Shango
3. Read the last chapter 10, “Modes of ritual performance in African-American Pentecostalism,” pp. 164-197 of coursepack and be able to provide the appropriate responses for the following:
A: List FIVE of the African features found in COGIC, as summarized in pp. 176-177.
B: List the THREE of the “modes” described in this chapter
C: In about a page (handwritten) or at least ¾ of a page, summarize all the African religious and cultural practices that are described in pages 183-188 of this chapter.
TAKE HOME QUIZ 2 (DUE WED MAY 26)
Read the chapter Read the chapter in the coursepack, “The Disease of the Prophets: Musical Construction of Clinical Reality,” pp. 107-137 and ANSWER the 10 questions listed on p. 137 (repeated here):
1. How does a chikanje “heat his vimbuza?
2. What is “kwaya,” and what is its role in healing sessions?
3. What day is set apart for patients to dance?
4. What are common themes of hymns sung?
5. In what ways do the rhythmic and dance modes help identify particular spirits?
6. Drummers/musicians for healing-trance sessions are themselves often possessed: T F
7. One rhythmic mode is played for each patient even when more than one spirit is involved: T F
8. How does music/dance establish reciprocal relationships between healer and patient?
9. List some of the musical instruments and symbols/colors/beads mentioned
10. Name one difference between a visit to a Western hospital and one to a Tumbuka diviner’s temple
Look up the
following on the web and pay attention to the areas indicated:
1. (masks and their role in
initiation/indigenous religion; carving; wooden figures representing twins—Ibeji in Yoruba culture)
a. http://www.lib.virginia.edu/clemons/RMC/exhib/93.ray.aa/
Exhibition.html
b. http://www.magellantraders.com/african_masks_initiation.html
2. Festivals
dedicated to the ancestors:
a. http://www.mythicarts.com/writing/Egungun.htm
b. http://www.egbaegbado.org/egba14.htm
READ AGAIN
CHAPTER 2 from the coursepack, “Gods and Deputy Gods: Music in Yoruba
Religious and Kingship Traditions” (pp.70-91). THEN, WRITE THE CORRECT
RESPONSES IN YOUR NOTEBOOK TO THE FOLLOWING QUESTIONS, inc+luding definition of
terms:
1. In what ways
does the title suggest belief in the supernatural/spirits, especially in
relation to kings?
2. This essay is about which particular ethnic group, and where is it located
in Africa?
3. Describe the specific ways in which BELIEF IN LIFE AFTER DEATH AND ANCESTORS
is demonstrated in this essay
4. What are some of the main functions or uses of music in rituals pertaining
to kings in this essay?
5. Describe how kingship coronation/installation rituals fit the structure and
symbolism in rite of passage (To what extent can you say the examples described
in class constitute a rite of passage with initiation at the core?)
6. Muslims from this ethnic group do not participate in kingship rituals: T/F
8. List some of the gods mentioned in this essay and indicate whether they are
part of a monotheistic, polytheistic, or animistic tradition, etc. (goddesses,
too?)
9. List some of the main musical instruments described, especially those that
are closely identified with the royal court
10: Identify the following terms:
YORUBA, SHANGO/ŚANGO, OYA, DÙNDÚN,
BATA, ALAAFIN, OLODUMARE,
>>>REVIEW
the structure of RITES OF PASSAGE on p. 8 of coursepack; hierarchy of
gods/spirits AND KING-PHILOSOPHER-PRIEST on p. 18. and SYMBOLS
associated with the royalty from the tables on pp. 53-54 of coursepack
REVIEW for Quiz 1
NB: Quiz items will include multiple choice, matching, short responses,
T/F [MONDAY, APRIL 19]
TERMS/CONCEPTS
TONE LANGUAGE
SYNCRETISM
CUBISM/PICASSO in relation to African religious art
SUFISM
LIBATION
ABAYYUDAYA
FALASHA
PANTHEISM/POLYTHEISM
ANIMISM
ANTHROPOMORPHISM
MONOTHEISM
*EXAMPLE OF WATER SYMBOLISM FORM SPECIFIC AFRICAN TRADITIONS
*( Go Here For Examples: http://ceeba.at/rit/rit_symbolism_of_bath1.htm
)
**SIMPLIFIED HIERARCHICAL STRUCTURE (DIAGRAM) OF THE UNIVERSE OF SPIRITS/GODS
IN AFRICA
(**see MBITI, p. 70;
coursepack, p.18)
IDENTIFY/LIST THREE CATEGORIES OF AFRICAN MUSICAL INSTRUMENTS
LIST THREE FUNCTIONS OF A CALABASH
Write FIVE sentences that summarize your understanding of the importance of the
ANCESTORS and ATTITUDES TOWARD DEATH in African societies. (see several pages
and chapters in MBITI and introductory materials/chapters of the coursepack)
ASSIGNMENT/QUESTIONS FOR
WEEK 3-4
I. Read Coursepack, pp. 138-145 of the essay, “Music and Memory in
Senegalese Sufism”
and be ready to define the following:
A. DHIKR
NUMEROLOGY
TALISMAN
ONTOLOGY SAMA
B: i. How do Muslims view music in general? ii. How do Sufis use music, as discussed here?
II. Read Coursepack, pp. 56- 69 on Music (Anlo-Ewe Music) and be able to answer
the following:
Questions 2 and
3 (of first set of questions under “Aesthetics”)
Questions 1-10
(Anlo-Ewe music section)
III. Review coursepack, chapter 2: “Some Common Features of Sub-Saharan
African Music,” pp. 39-55
(note charts/diagrams illustrating these features and also symbolic
usages)
Nb: link for the musical tour of Africa: http://www.bbc.co.uk/music/features/africa/
PREPARING FOR QUIZ ON MONDAY, MAY 10
A: You are now experts on the Graduation Ceremony as a Rite of Passage. Review ALL the details we discussed on Monday, May 3 and then be prepared to write AT LEAST ¾ page essay (full page is desirable), paying attention to the following:
SYMBOLS and SYMBOLIC GESTURES
specific examples of the classic three stages:
SEPARATION-TRANSITION-REINTEGRATION, with emphasis on 1st and 3rd
stages.
Other areas to include in your essay: notions/examples of SACRED SPACE and
STRUCTURED/SACRED TIME, both in relation to “SEPARATION,” seat/space assignments, procession, and
performance/musical activities, including speeches. Remember, colors are important parts of symbols.
B: In AT LEAST 3/4 page, summarize the various ways in which African kingship rituals, protocols, including installation/crowning ceremonies constitute a rites of passage. You can drawn on some of the guidelines given in “A” above, but you must discuss the employment of SYMBOLS AND and SPECIAL musical instruments associated with the royalty and the rituals [be specific]; specific examples of SEPARATION-TRANSITION-REINTEGRATION, etc. Draw on examples discussed in class AND from the assigned chapter on “GODS AND DEPUTY GODS” from the coursepack,. You should conclude this essay by drawing on HOW the African examples are found in other societies outside of African where social hierarchy is articulated, both politically and ceremonially, as discussed in the case of the head/president of, for example, The U.S. Demonstrate your understanding of the African kingship system and rituals by integrating your understanding of KING-PHILOSOPHER-PRIEST.
C: RE-READ the assigned chapter
from the coursepack, “DEE HOO!
SONIC ARTICULATIONS IN HEALING AND EXORCISM ,” pp. 92-101 AND BE READY
TO PROVIDE ANSWERS TO THE 10 QUESTIONS LISTED ON THE BOTTOM OF THE LAST PAGE,
101. [You will be allowed to refer to this essay during the quiz]
FINALS—REVIEW
GUIDE---CLICK HERE
QUIZ
1 REVIEW ITEMS (for Jan 27, ’04)
QUIZ
2 –SOSME HINTS (see also Week 5 & 6)TERMS/CONCEPTS
Home Assignments
Week 1
(due week 2, winter 04)
Week 1:
Look
up on the internet and using the given two terms as the keywords/search terms,
[1]
Define JUJU in two ways:
a.______________________________________________________________________
b.______________________________________________________________________
[2]
Define ABAYUDAYA______________________________________________________________
______________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
Week
2 Assignment
1. Define “tone
language”
2. Name one practice that shows a common belief in ancestors in Africa
3. Describe 3 ways in which African peoples differ from one another
4. Name at least one Western artist/ and style/school of art that draws on African (ritual) masks and carved images
5. Describe one way in which a SIGN can be distinguished from a SYMBOL
6. Explain INDIRECTION in relation to African customary practices and protocol
--REVIEW QUESTIONS 1,3,8,13,21 of the questions in the coursepack, page
38. You should be able to answer many other questions on that page
QUIZ 1 REVIEW ITEMS (FOR JAN 27)
A: MATCHING TERMS/FILL-IN THE BLANK FORMAT
YORUBA
SYNCRETISM
ANIMISM
POLYTHEISM
SUFISM
VOODOO [VODU/VODUN/VOUDOU
ART FOR ART’S SAKE
MATRILINEAL
EGALITARIAN SOCIETY
JÙJÚ
ABAYUDAYA
EWE
HOMEOPATHIC MAGIC
ENDOGAMY
PORO/SANDE
--GIVE TWO REASONS WHY YOU THINK THE PERFORMANCE OF “AVORGBEDOR” HAS MUSICAL
FEATURES
--4 EXAMPLES THAT SHOW “UNITY” (in
our discussion of unity in diversity— DESCRIBE TWO examples outside of music,
and TWO examples from musical traditions)
--DESSCRIBE WHAT WE MEAN BY MUSIC AS AN “INTEGRATED ART FORM”
--NAME 2 WESTERN ARTISTS/PAINTERS
AND THEIR SCHOOL/STYLE THAT WAS INFLUENCED BY AFRICAN RITUAL MASKS
B: RE-READ THE ESSAY ON PAGES 56-69 OF THE COURSEPACK AND BE ABLE TO
ANSWER THE SECOND SET OF QUESTIONS SUBTITLED “FOR ANLO-EWE MUSIC”—I.E.,
QUESTIONS 1-10 (P.69
--KEY TERMS/CONCEPTS (to be updated)
SYNCRETISM
ANIMISM
POLYTHEISM
MONOTHEISM
PANTHEISM
SANTERIA
MAMMY WATA
AKWAABA FERTILITY DOLL
SUFISM
VOODOO [VODU/VODUN/VOUDOU
ART FOR ART’S SAKE
PSYCHIC DISTANCE
DISINTERESTEDNESS
ART FO LIFE’S SAKE
MATRILINEAL-MATRIARCHY-MATRILOCAL [PATRI…]
STATE/CENTRALIZED SOCIETY
EGALITARIAN/ACEPHALOUS SOCIETY
WEEKS 3-4 READING ASSIGNMENT
1. Read Chapter 2 of
Coursepack, pp.70-91: “Gods and Deputy Gods: Music in Yoruba Religious and Kingship Traditions” (Euba)
a. Be able to relate to terms, names and
concepts in this essay and that have been discussed in class
b. Note
the structure, and function of music
c. relate
materials to “KING-PHILOSOPHER-PRIEST”
d. note
the aspects of belief and ritual
e. ways
in which beliefs in “ancestors” are articulated here
f.
FINALLY, WRITE YOUR OWN FIVE QUESTIONIS THAT YOU WOULD WANT TO ASK IF YOU WERE
TO TEACH THIS CHAPTER TO A GRADE 12 CLASS (you can write them on the blank page
opposite page 91)
2. REVIEW OF CLASS MATERIALS
a. review
(class discussions, MBITI, coursepack) the general significance of personal
names in African cultures
b. review
(class discussions, MBITI, coursepack) how African peoples articulate or
demonstrate their beliefs in a Supreme God/Being
c. review (class discussions, MBITI,
coursepack) the importance of ancestors in African cultures
d. review the
structure,, function, musical characteristics of DUDOGO, with emphasis on
SPECIFIC EXAMPLES THAT REPRESENT “UNITY” (or that are part of the “common
features of African musical and cultural
practices)
e. review THREE uses of a calabash
f. review THE
STRUCTURE, FORM, FUNCTION, and CONTENTs of a LIBATION. Pay attention to the
nature of the RECITATION, SYMBOLIC FOOD ITEMS, SYMBOLIC GESTURES,, and their
meanings
g. review the
TWO SYMBOLIC REPRESENTATIONS discussed: FRICTIONI DRUM among Chokwe initiation
rites; hoe blade in Akan Bragoro
puberty rites
h. review two
practices or features common to the Akan and the Chokwe (Angola) clue: singing
style and matrilineal system
i. Describe FOUR
EXAMPLES that show African retentions/practices (see also “common features…”
and discussions of “Unity in Diversity”) in Trinidadian steel pan performance
j. Describe THREE
WAYS in which African musicians ENHANCE/INCREASE the percussive elements of
their music
k. Drawing on our class
discussions and music examples, describe TWO WAYS in which African approaches
to music making are illustrated in the music of Bobby McFerrin (as played and
discussed in class)
MID-TERM REVIEW FOR FEB 10 ‘04
>>review the questions in first quiz
>>know at least two ethnic/indigenous names for Supreme God from two
different societies
>>be able to name 3 ethnic groups from three different countries in
Africa
>>know details of DUDOGO
>>be able to name 3 of the 5 categories/classes of African musical
instruments
>>importance of percussion (especially how it is enhanced)
>>give an example each to illustrate SACRED and PROFANE time
>>details about graduation ceremony as a rite of passage
>>terms additional terms such as PANTHEON, LIMINAL, REINTEGRATION,
ANTHROPOMORPHISM, ORDEAL, NEOPHYTE, COWRIE, ETC
>> these terms and other general questions from essay chapter 3 of
coursepack “Gods and Deputy Gods”:
(e.g., SHANGO/NGO/SANGO and general attributes, OYA, DUNDUN, BATA,
ALAAFIN, OLODUMARE, Moslems participate or not; general idea about variety of
music for Shango
>>describe how kingship coronation/installation rituals fit the structure
and symbolism in rite of passage (To what extent can you say the examples
described in class constitute a rite of passage with initiation at the core?)
ls about belief and practices regarding ancestors
>>details about libation
>>identify four objects to be brought into class according to 3 of their
uses/functions
QUIZ 2 AND GENERAL REVIEW
ITEMS (for weeks 5,6 etc.)
Many of the following items are based almost exclusively on our Tuesday, Feb
17 class. YOU MUST be able to accurate and detailed responses to them:
A:
1. List FOUR of the five functions of music/song in African storytelling
traditions
a.___________________________________________________________
b.___________________________________________________________
c.___________________________________________________________
d.___________________________________________________________
The following are related to the essay on Music and Spirit Possession in Shona Bira
2, What is the former name of Zimbabwe?
3. The present-day Zimbabwe derived its name from _____________________
4. The language spoken by the Shona is called__________________________
5. The Shona and most of the peoples and cultures of southern portions of
Africa belong to this umbrella/cluster of languages and culture known as
_______________
6. Who was Cecil Rhodes?
7. Two main keyboard instrument used in this Shona example is called__________
8. The name of the pair of basket shakers is called_______________________
9. How do Shona musicians enhance the percussive dimensions of their
music_________________________________________________
10. What is the musical role of the basket shakers?____________________________
11. What aspects of the music and the setting show the “communal” nature of
this event?
12. Define the term ‘NGANGA”
13, What drink is commonly consumed and what is the purpose?
14. How is the main keyboard instrument used regarded? (that is, extramusical
associations)
15. Summarize the nature or construction of music in this event
16. Professionals do not perform at these ceremonies TRUE
FALSE
17. What is nature of the call-and-response heard in the storytelling examples?
B:
Describe an example of symbolic inversion, as shown in Ewe (Anlo-Ewe)
exorcism ritual and music
Briefly describe how sound configures (or is used) in Ewe rituals and beliefs
pertaining to twins
Why, how much and when music is involved in Ewe widowhood ritual?
According to the video, Healers of Ghana, being angry at someone for a long
time and for no real just cause can cause______________
According to the same video, what knowledge is sometimes revealed to
traditional healers when they are under possession?
What colors are emphasized or used in Akan funerary rites?________________
In African sculptures and artistic practices, human figures are often used and
the head is often exaggerated or enlarged, in proportion to the rest of the
body. Why do they emphasize the head?
Define the term IBEJI__________________________
Briefly describe what is meant by DIVINE KINGSHIP
You will be asked to write a TWO-PAGE essay (or better still, you will be
asked to prepare and present a 15 min lecture) on the following:
SPECIFIC FEATURES AND THE GENERAL IMPORTANCE OF BELIEF IN LIFE AFTER DEATH IN
AFRICAN SOCIETIE, drawing on specific examples (ONE PAGE). THEN, FINISH BY
DESCRIBING SPECIFICALLY PRACTICES PERTAINING TO BELIEF IN ANCESTORS, AS AN
EXTENSION OR FURTHER ILLUSTRATION OF BELIEF IN LIFE AFTER DEATH. IN ALL, BE SURE TO ADDRESS SPECIFIC
EXAMPLES SUCH AS:
Types and ETIOLOGY of diseases, mortuary or burial practices and beliefs—types
of death such as woman dying in pregnancy, drowning, road accident,
suicide, lame/disabled, twins/parents of twins, death of kings/queens,
etc.-- cult/shrines and possession attributed to ancestors, and in daily and
naming practices that indicate veneration of ancestors
In a THIRD PAGE, summarize all the beliefs, practices, and examples that pertain to ANCESTORS in the two essays, MUSIC AND SPIRIT POSSESSION AT A BIRA CEREMONY and in THE DISEASE OF THE PROPHETS
==
DATE/TIME/PLACE: MARCH 11, 2004. HUGHES HALL 312 9:30 AM
AREAS TO REVIEW
1. review, using class notes, including relevant pages from Mbiti and coursepack and other sources you might find useful, THE VARIOUS WAYS IN WHICH BELIEF IN ANCESTORS IN AFRICNA SOCIETIES IS ARTICULATED IN EVERYDAY LIFE, SPECIAL OCCASIONS SUCH AS HEALING, INITIATION, FUNERARY AND NAMING CEREMONIES, SYMBOLIC GESTURES and daily superstition, CUSTOMARY PRACTICES AND IN SECRET SOCIETY RITUALS. BE SURE TO DISCUSS SPECIFIC ARTIFACTS/SYMBOLS/OBJECTS (e.g., beads, Ibeji, memorial poles/stones, dress or colors, etc.) ASSOCIATED WITH ANCESTORS and LIFE AFTER DEATH.
You will be expected to write no less than ONE PAGE OF ESSAY
2.
USING YEVE (Shango) as an example, DISCUSS IN DETAIL and in no less than 2
pages THE VARIOUS WAYS IN WHICH THIS SECRET RELIGIOUS SYSTEM ILLUSTRATES
THE FOLLOWING:
A: i. Pantheon ii. Profane time ii. Color symbolism
iii. The notion of “Thunder god”
B: i. crisis
ii. Various examples of SEPARATION: name/naming and consequences; diet
restriction, physical identification, physical serapation during training, etc.
iii. Psychological transformation
iv. Defilement and
flagellation v.
death-rebirth symholism
vi. Reintegration* vii.
general recruitment tactics and the element of reincarnation, etc.
*Reintegration: will explain more in class today, March 9.
C: the structure and function/role of music and musical instruments (include symbolism)
3. last chapter of coursepack: Essay by Thomasina Neely-Chandller: “Modes of Ritual Performance in African American Pentecostalism”
i. Define the
following: a. LIMINAL (as discussed in class, also) b. GLOSSOLALIA
c.
COGIC
d. PNEUMATIC
e. SYNCRETISM
ii. List and describe briefly AT LEAST 3 AFRICAN MUSICAL ELEMENTS OR PRACTICES THAT ARE FOUND IN COGIG WORSHIP
4. GENERAL, DRAWING ON MAINLY BIRA CEREMONY AND TUMBUKA HEALING…IN FIVE SENTENCES Explain the importance of NGANGA/NCHIMI in African societies. Begin with the ETIOLOGY of diseases, HOW ONE BECOMES A NCHIMI/NGANGA, THE ROLE OF DIVINATION AND SACRIFICE, AND BELIEF IN ANCESTORS
FOR PREVIOUS YEARS
ONLY….
>>>>...
TAKE-HOME
EXAM (IN PLACE OF A TERM PAPER)
1.
Sample Research Proposals
2.
Sample Research Topics (See Appendix of Coursepack)
3.
SELECTIVE BIBLIOGRAPHY..
HANDOUTS/REVIEW ITEMS/QUESTIONS
Review
Questions up to MidTerm (see ALSO hardcopy distributed in class).
Review items for
finals, aaas 342 spring 2001
PART 1--GENERAL
1. Summarize in a paragraph (i.e., in about 5 sentences or more) the ways in
which African music in closely tied to society, culture, and specific contexts
2. Just list THREE of the COMMON FEATURES of Sub-Saharan African music as
outlined in the coursepack text and charts
3. similaries between African-American Pentecostal church experiences and those
of indigenous African healing/ritual settings
4. Give TWO indigenous terms (i.e., from two African societies) that refer to
the Supreme God (see coursepack, intro materials and glossaries to essay)
5. Give an example that shows that traditional religion in African is
innovative and adaptive
6. Draw a diagram/CHART showing the HIERARCHY OF the world of spirits/gods
(e.g., nature spirits, ancestors, etc.) in Africa—you must show your own
critical insight, drawing on materials covered in class and from your own
understanding
7. List the THREE STAGES often encountered in initiation rites
8. give TWO examples that illustrate the employment of sound/music as SYMBOLS
OF STATUS/POWER/AUTHORITY
9. Give TWO EXAMPLES (i.e., from two different societies) that illustrate the
importance ANCESTORS in African societies and as shown in musical and ritual
performances
10. importance of death as significant social, musical, ritual event
PART 2--TERMS TO IDENTIFY (MATCHING)
ANTHROPOMORPHIC, GLOSSOLALIA, JUJU, NEOPHYTE, BANTU , CAPOEIRA, TONAL LANGUAGE,
INTEGRATED ART FORM, NGOMA, NGHANGA, LIBATION, PANTHEON, KWAANZA,
DAHOMEY, MBIRA, EWE, MAKESHIFT, SYNCRETISM,, SHANGO,
ETC
PART 3--ESSAY
READ AND BE PREPARED TO ANSWER THE QUESTIONS APPENDED (and a few
new ones)TO:
Friedson, Steven. "THE DISEASE OF THE PROPHETS: MUSICAL CONSTRUCTION OF
CLINICAL REALITY" from the coursepack (copy on reserve also).
SAMPLE RESEARCH PROPOSALS/ TOPICS
The Research Proposal
It is recommended that you first present a short description of your planned
term paper early in the term. In this way, you can receive useful feedback to
improve on the quality of the paper. The proposal should ideally include the
topic and a short paragraph detailing HOW you are going to COLLECT, ORGANIZE,
and ANALYZE the research information or data. As you can see from the sample
topics below, the research would normally involve some aspect of fieldwork. A
fieldwork may involve asking questions, either orally and/or administering a
written questionnaire. Depending on your topic you may also attend a musical
situation and participate in some way, as part of your strategy for gathering
information for your paper. A research paper could also be based on some
analysis of printed or recorded material in libraries or archives. I will give
additional information on the research paper during the course of the term.
However, keep in mind that the earlier you begin the paper, the better your chances
of completing an acceptable research paper.
You
may also, depending on the nature of your research project/paper, append a
brief bibliography of relevant sources that will inform your paper. Remember
DEADLINES, as specified in IMPORTANT DATES section of the syllabus.
State the topic in a clear, precise manner. Sometimes a subtitle is helpful in breaking down or clarifying down the subject further, for example:
(a) PROTEST SONGS AS A MEDIUM FOR COMMUNICATING WORKERS' GRIEVANCES
DURING THE DEPRESSION: A STUDY OF FIFTEEN LYRICS
OR:
(b) THE INFLUENCE OF AFRICAN-AMERICAN SPIRITUALS AS SEEN IN CONTEMPORARY CHURCH HYMNS OF THE UNITED METHODIST CHURCH
In
(a) the subtitles specify exactly the number of songs you will consider, and
the period or time frame is already stated in the main title. Next, a paragraph
or two will elaborates on the topic a little further, summarizing your purpose,
for example:
TITLE:PROTEST SONGS AS A MEDIUM FOR
COMMUNICATING WORKERS' GRIEVANCES DURING THE DEPRESSION: A STUDY OF FIFTEEN
LYRICS
SUMMARY: The aim of this project is to investigate the
verbal content of fifteen protest songs selected from the Depression (ca.
1927-1933) era, with focus on how the messages of the songs reflect workers’
experiences and expectations. The selections will be limited to those
identified with African-American sources. The study will examine specific
performance techniques employed and performance locations, with attention to
how these performance traits help impress the messages on the audiences. A basic
assumption of this project is that the situation of protest is a socially
significant one and that the song texts and manner of performance will be
influenced in many ways by the uniqueness or social relevancy of the situation.
[Or: A basic hypothesis of this project is that there is a relationship between
the situation of protest and the song texts, including the manner in which they
are performed, and the preference for a particular performance space]
[this
section for brief discussion of specific theories relevant to your topic,
followed by an overview/critique of works by other researchers that pertain to
your topic--- OPTIONAL AT YOUR LEVEL]
[this
section specifies the methods, techniques, and types of analysis you will
employ]
For example: Research Methods and Techniques: A sample of 15 songs (and their African -American authors and performers) will be selected from the sheet music collection at the ----Archive/Library (alternatively, you can say the songs will be selected from those found in the book published by ----on protest movements in the U.S. and/or selected audio recordings and liner notes). The songs will be selected and classed thematically under the following categories: (1)humor, (2) insult and ridicule, (3) warning, (4) hope, and (5) hardship/despair. The frequency of occurrence of the above themes within and across the songs will provide the basic criterion for the selection of the fifteen songs, and for drawing conclusions on the overall character of protest songs of the Depression. The importance of the above themes will also be confirmed through an additional investigation that is based on an oral interview with 5 survivors from the period. Finally, the textual analysis will also consider the forms of musical accompaniment employed, and the impact of group (mass) singing on the effective communication of the messages. The research techniques will, therefore, essentially involve both library/archival research, content analysis, and a fieldwork component (i.e., oral interviews with a sample population of survivors, both African-American, Caucasian, etc.).
[this
final section appends a working bibliography(optional) ]
TITLE:THE INFLUENCE OF AFRICAN-AMERICAN SPIRITUALS AS SEEN IN CONTEMPORARY CHURCH HYMNS OF THE UNITED METHODIST CHURCH AND THE EVANGELICAL PRESBYTERIAN CHURCH
SUMMARY: I propose to study the importance of the African American spiritual in contemporary Christian music of the United Methodist Church and the Evangelical Presbyterian Church, with emphasis on local congregations of Columbus. The basic premise of the study is that there is a growing interest in diversifying musical experience in the Christian Church and that the African American spiritual plays an important role in building or celebrating this diversity. A secondary goal is to understand how attitudes toward music in the Church has changed in response to shifting social, political, and theological issues.
Methods and Techniques: The research will involve both content analysis and field observation of music and hymnbooks from five congregations of each of the two denominations. The analysis will determine the number and frequency of the spirituals; the resulting statistics will be compared between the two congregations. I will conduct oral interviews with the ministers and music directors in order to determine the reasons for the inclusion of the spirituals. A small number from the general congregation will be interviewed also in order to ascertain their levels of satisfaction with the spiritual. I will visit church services in order to observe the performance of the spirituals, in order to confirm data collected through oral interviews, and to note any special occasions that motivate the performance of the spirituals. Finally, conclusions will be made on the significant differences between the frequency and levels of satisfaction with the spiritual in the two congregations. The conclusions will assess also any significant alterations or reharmonizations found in the hymnbooks.
[APPEND HERE A WORKING BIBLIOGAPHY]
EXAMPLE 2
KARAOKE AS A MUSICAL AND SOCIAL PHENOMENON:AN EXAMPLE FROM COLUMBUS
1. brief overview of the evolution of karaoke in Japan
2. how karaoke came to be popular in the U.S.
3. the importance of the social interaction in
karaoke
4. specific example(s)
5. how does this example illustrate the close
relationship between music and society (as we have discussed with other music
cultures in class) under social:
which age group/sex/social class tends to participate in karaoke
more?
How frequent? location important? What are some opinions (from your personal
interviews, if any) about WHY they participate in karaoke?
What times seem to be most convenient and why?
EXAMPLE 3
MUSIC AND BELIEF SYSTEM: A STUDY OF DEBATES ON CONTEMPORARY CHRISTIAN MUSIC
1. give brief overview of the role of music in Christian worship
and how roles and views have changed over centuries
>>give examples from the Catholic church
(especially Vatican II see me for details)
>>give examples from the Presbyterian
Church of Scotland
>>give examples of how some denominations
of TODAY do not use instruments
2. What is the basic nature/trend of the arguments/issues
How are they supported by the Bible?
3. are they trying to catch up with modernization?
>>are they trying to encourage cultural
diversity?
>>are they trying to keep with developments
in our social and political systems?
>>are they trying to target a specific age
group?
4. what is the significance of music among CHARISMATIC (define)
groups, such as Pentecostals?
5. what views have been expressed by
theologians/scholars (e.g., Music through the Eyes of Faith; The
Worshiping Church;
EXAMPLE 4
A STUDY OF WHITE COLLEGE STUDENTS AND RAP MUSIC: AN OPINION SURVEY
Some
areas and questions to consider:
which
college students, from where; age-groups, male/females; musical
background--what they listen to? what record/cd/tape collections they have at
home;any
influence from parents on what to listen to? where is your home town/where you
grew up
Who is your favorite rap artist? Are you familiar with 2 Live Crew?
do you think rap is against whites? do you think rap music is
responsible for some violence in our society?
do you think rap should be banned? is there a particular form of
rap you prefer?
how long have you been listening to rap? ETC.
indicate:
how many students interviewed
any special findings/male/female, location (urban, small, town,
etc.)
writing the INTRO:
summarize the situation of rap today, the censorship, sampling and
copyrights, recent
violence, the migration and use of rap as Christian music in
certain denominations and Christian radio stations
SELECT BIBLIOGRAPHY--TO BE CONTD--AAAS 342
USEFUL WEB/BIBLIOGRAPHY
·GENERAL INFORMATION ON AFRICAN SOCIETIES AND CULTURES
http://www.artsconnected.org/artsnetmn/identity/africa.html
http://www.dia.org/collections/aonwc/africanart/menwhodanceaswomen.html
http://www.cocc.edu/cagatucci/classes/hum211/timelines/htimeline2.htm
http://afrikaworld.net/afrel/index.html
http://artsedge.kennedy-center.org/aoi/resources/vpa.html
·MUSIC
http://www.coraconnection.com/
http://www.web62.com/africanmusic.html
http://www.multiculturalmedia.com/tocafr.html
http://www.tiac.net/users/smurungu/home.html
http://www.afropop.org
http://www.cnmat.berkeley.edu/~ladzekpo/Intro.html (Intro to Ewe culture and
music)
http://www.dancedrummer.com/funerals.html(Music at Anlo-Ewe Funerals)
http://acadprojwww.wlu.edu/vol4/BlackmerH/public_html/xliberty/griot/oliver.html
· AFRICAN ART & AESTHETICS
1. Do Non-Western Cultures Have Words for Art? An Epistemological Prolegomenon
to the Comparative Study of Philosophies of Art (Wilfried van
Damme)http://aaas.ohio-state.edu/dka/aesvanda.htm
And/Or: Art by Another Name: The Identification of Art Across Cultures
http://aaas.ohio-state.edu/dka/novtz.htm (David Novitz)
2. African Art:Aesthetics and Meaning (online exhibition with essay summary on
aesthetics)
http://www.lib.virginia.edu/clemons/RMC/exhib/93.ray.aa/African.html
3. African Culture and Aesthetics
http://artsedge.kennedy-center.org/aoi/resources/hg/aesthetics.html
http://www.pbs.org/wnet/africa/explore/
http://www.temple.edu/jaac/
http://www.aesthetics-online.org/
http://www.introspecinc.com/gallery/exhibit6.htm
·RELIGION(S)
http://www.bu.edu/wcp/Papers/Reli/ReliArin.htm ("Principles for Cognizing
the Sacred" general intro)
http://www.utm.edu/~jfieser/vita/research/Religion.htm (elements of religion,
general)
http://www.igc.org/worldviews/awpguide/relig.html
(discusses Indigenous, Christian, Islam; good bibliography)
http://web-dubois.fas.harvard.edu/dubois/baobab/narratives/islam/islam.html
(Islam and indigenous religion)
http://www.blueladder.com/education/whistafricanreligion.html (includes exx of
superstitions from ethnic groups)
http://newsvote.bbc.co.uk/hi/english/talking_point/debates/african/newsid_1715000/1715756.stm
(Contemporary examples from Cameroon)
http://aaas.ohio-state.edu/dka/relishna.htm (examples from Shona
[Zimbabwer]religion)
http://www.afrikaworld.net/afrel/index.html (includes role of women,
marriage, Caribbean, country stats, maps; important links)
http://www.fandm.edu/departments/Anthropology/Bastian/ANT269/man.html (magic
and art in West Africa--music, Mande people)
http://www.fandm.edu/departments/Anthropology/Bastian/ANT269/magic.html (brief
intro, Mande people)
http://www.fandm.edu/departments/Anthropology/Bastian/ANT269/yoru.html (Yoruba
religion)
http://www.ucalgary.ca/~nurelweb/papers/fred/fred2.html (religion and sacred
kingship in Uganda)
http://members.aol.com/porchfour/religion/african.htm (African religions in the
Diaspora)
·RITES OF PASSAGE
http://www.balchinstitute.org/museum/rites/art.html
http://www.magellantraders.com/masks-afinitiation.html
http://www.lib.virginia.edu/clemons/RMC/exhib/93.ray.aa/African.html
Exhibitions on Rites of Passage involving masks/visual arts
http://www.mawasi.com/NCACRoP/RoP.html
Research on rites of passage in African American society
http://www.balchinstitute.org/museum/rites/akan.html Edin Toa: Akan Baby-naming
Ceremony (From an interview with Akan priestess Yaa Nson Opare, conducted by
Steven Zeitlin, New York City, 1992)
Funerals
http://www.balchinstitute.org/museum/rites/african.html
Case Study--JAZZ FUNERALS: African Funeral and Memorial Traditions in America
Other resources /Diaspora
http://www.sas.upenn.edu/African_Studies/K-12/African_Dance_19546.html
http://www.artslynx.org/dance/afro.htm
http://www.wlu.edu/~hblackme/griot/oliver.html
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Bergin & Garvey. South Hadley, Mass. 1983. BSL BL2480 H3B47
BESMER, Fremont
Kidan daran salla: Music for the Eve of the Muslim Festivals...Nigeria
Bloomington, IN: African Studies Program, 1974 MUS ML350 B48
TDR: Theater and Drama Review MIT Press
Advertising Manager, 28 Carleton St,
Cambridge NA 02142 617-253-2889 26/4 1982 devoted to MASKS OF all nations
Devisch, Renaat
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Death in the African family: a handbook on how Africans bury their dead /
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Onwuejeogwu, M Angulu
The cult of the bori spirits among the Hausa IN: Man in Africa / edited by Mary
Douglas and Phyllis M. Kaberry Pages 279-305. Garden City, NY : Anchor Books,
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Ritual music of the Yeve , a West African god of thunder; volume
1: The Ladzekpo brothers. Brooklyn, N.Y.:Makossa International Records, 1900
1989 Recording 33 1/3 rpm, stereo.; 12 in. African dance series collection.
African ritual and initiation. Oakland, CA : Thinking Allowed Productions,
1994
1 videocassette (60 min. label. "H320"
Quarcoopome, Ebenezer Nii Otokunor
Rituals and regalia of power : art and politics among the Dangme and Ewe, 1800
to present, 1993
523 p. Thesis (Ph. D.)--UCLA , 1993.
Ibitokun, Benedict M.
Dance as ritual drama and entertainment in the Gelede of the Ketu-Yoruba
subgroup in West Africa / Ile-Ife, Nigeria:Obafemi Awolowo University Press,
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Jando : the rite of circumcision and initiation in East African Islam /
Lund : Plus Ultra, 1990 Lund studies in African and Asian religions, v. 5
0284-8651 ;
Mbira dza vadizmu Dambatsoko, an old cult centre, with Muchatera and Ephrat
Mujuru
PLACE: University Park, PA : PUBLISHER: Pennsylvania State University,
Audio-Visual Services, 1978 1 video 51 min. English narration, chanting in
Shona with English subtitles.
African religions and ritual dances New York, Carousel Films, 1971 1 videocass (18 min.) : sd. col. ; 1/2 in.VHS Originally broadcast on the television program: Tell it like it was
Glaze, Anita J.
Art and death in a Senufo village. Bloomington : Indiana University Press, 1981
(reserve)
Cory, Hans.
The Ntemi ; the traditional rites in connection with the burial, election,
enthronement and magic powers of a Sukuma chief. London: Macmillan, : 1951
Saunders, Nicholas.
Ecstasy : dance, trance, & transformation / by Nicholas Saunde with Rick
Doblin PUBLISH INFO Oakland, CA : Quick American Archives ; San Francisco, CA :
Goodman, Felicitas Daniels
Disturbances in the Apostolic church: case study of a trance- based upheaval in
Yucatan, by
Felicitas D. Goodman. Thesis - Ohio State University, 1972
Glossolalia.Pentecostal churches--Mexico--Yucatan.
Welte, Frank Maurice
Der Gnawa-Kult : Trancespiele, Geisterbeschworung und Besessenheit in Marokko
/ Frank Maurice Welte. Frankfurt am Main ; New York : P. Lang, c1990
Europaische Hochschulschriften Reihe XIX, Volkskunde, Ethnologie Abt. B,
Ethnologie ; Bd. 18. Includes bibliographical references and indexes. SUBJECTS
Folklore, cults, trance -- Morocco.
Bourguignon,Erika ed.
Religion, altered states of consciousness, and social change.b Columbus, Ohio
State University Press, 1973.
HENNEY, JEANNETTE HILLMAN
SPIRIT POSSESSION BELIEF AND TRANCE BEHAVIOR IN A RELIGIOUS Group IN ST.
VINCENT BRITISH WEST INDIES.1968. OSU Book Depository THESIS1968PHDHJHS
Bucke (R.M.) Memorial Society.
Trance and possession states, edited by Raymond Prince. Proceedings [of the]
second annual conference, R. M. Bucke Memorial Society, 4-6 March 1966,
Montreal. [Montreal, R. M.
Bucke Memorial Society, c1968]
Trance, healing, and hallucination; three field studies in religious experience
[by]
Felicitas D. Goodman, Jeanette H. Henney [and] Esther PresselNew York, Wiley
[1974]
DESCRIPTION xxiii, 388 p. illus. 23 cm. SERIES Contemporary religious
movements.
NOTES "A Wiley-Interscience publication." Each field study was originally presented as a thesis, Ohio St University.
Pressel, E.
Umbanda trance and possession in Sao Paulo, Brazil.--Goodman, F. D.
***Zaretsky, Irving I.
Bibliography on spirit possession and spirit mediumship. Comp. by Irving I.
Zaretsky Berkeley, Dept. of Anthropology, University of California
Second ed. published in 1978 under title: Spirit possession an spirit
mediumship
in Africa and Afro-America.> MAIN Reference Z6879 A3 Z3
Fokwang, John Koyela
Initiation and rites of passage in the Western Grassfields
of Cameroon : the case of Bali-Nyonga IN: Rites of passage and incorporation in
the western
grassfields of Cameroon / edited by Patrick Mbunwe -Samba...[et al.]. Vol. 1,
pages 83-91. Bamenda, Cameroon : Kaberry Research Centre , 1993
McKissic , Stephanie C.
Zulu rites of passage ceremonies from childhood to young adult : a museum
education
resource 1996: 103 leaves. Thesis (M.A.)--Howard University, 1996. Howard
University.
Dept. of African Studies.
The rites of passage process for African American youth : perspectives of eight elders 1998 421 leaves, KSU dissertations (Dept. of Adult, Counseling, Health and Vocational Education) Thesis (Ph. D.)--Kent State University, 1998.
Johnson, Lou
TITLE: Christian rites of passage for African American youth :
a final document submitted to the Doctoral Studies Committee in
partial fulfillment of the requirements for the degree of Doctor
of Ministry /Dayton, OH :United Theological Seminary, 1997
Wall, Kathleen.
TITLE: Rites of passage : celebrating life's changes /
Hillsboro, OR : Beyond Words, 1998
Eckert, Carol A.
\TITLE: Feminist rites of passage : Judy Chicago's Fresno project and
Womanhouse / 145pp. Thesis (M.A. in Art History)--Vanderbilt University, 1996.
Alford, Keith Anthony, 1961-
A qualitative study of an africentric rites of passage program used with
adolescent African American males in out-of-home care : looking for unexpected
themes /
\Columbus, Ohio : Ohio State University, 1997
Guernsey, Jonnie
Rites of Passage : the journey of white initiates, 1997
FORMAT: vi, 57 leaves ; 29 cm.
NOTES: Thesis (M.S. in Cultural Foundations of Education)--University of
Wisconsin--Milwaukee, 1997.
Goggins , Lathardus , II.
TITLE: African centered rites of passage and education /
Chicago, Ill. : African American Images, 1996
Rasing, Thera
Passing on the rites of passage :
girls' initiation rites in the context of an urban Roman Catholic
community on the Zambian Copperbelt [Aldershot, England] :
Avebury , 1995
Sacred fire : rites of passage and rituals of worship with angelic guidance /
Berkeley, Calif. : Celestial Arts, 1995
Rinehart, Martha Susan.
Modern rites of Passage Ann Arbor (Mich.) :
UMI , 1994Reprod en fac. sim
de : Th. (Ph. D.) : Philos. : University of Pennsylvania : 1991.__
Rites of passage in America : traditions of the life cycle / Philadelphia
:Balch
Institute for Ethnic Studies, 1992
Fink, Helga.
Religion, disease, and healing in Ghana : a case study of traditional
Dormaa medicine. Munchen : Trickster Wissenschaft, 1990
Karpinski , Gloria D.
Where two worlds touch : spiritual rites of passage / New York : Ballantine
Books, 1990
Lewis, Mary C. Herstory
Black female rites of passage: 1st ed. Chicago, Ill. : African American Images,
1988
Rites of passage initiations to adulthood.[United States] : Sunburst
Communications [distributor],
YEAR: 1974: Audiovisual 2 filmstrips (160 fr.) : col. ; 35 mm. + 2 cassettes
(24
min.) + 1 teacher's guide__
Bailey, John R.
Worship, ceremonial and rites of passage: Huddersfield : Schofield
& Sims, 1986
Leemon, Thomas A.
The rites of passage in a student culture; a study of the dynamics of
transition
New York: Teachers College Press, Columbia University 1972
Mbiti , John S.
African religions & philosophy 2nd rev. and enl. ed.xford ; Portsmouth,
N.H. :
Heinemann, 1990.
Religion in a pluralistic society : essays presented to ProfessorC. G.
Baeta in celebration of his retirement from the service of the University of
Ghana, September, 1971, / by friends and colleagues scattered over the globe;
edited by J. S.Pobee Leiden : Brill, 1976..
Gaba , Christian R.
Scriptures of an African people. Ritual utterances of the
Anlo Transl. ed and with an introduction by Christian R.
Gaba New York, NOK [1973]
Pobee , J S.
African initiatives in Christianity : the growth, gifts and diversities of
indigenous African
Churches - a challenge to the ecumenical movement / Joseph S.
Pobee and Gabriel Ositelu II forward by Walter
Hollenweger Geneva : WCC Publications, c199
Kamali, S. A. Religion in a pluralistic society.--Thomas, J. C.
Uses and truth.--
Gensichen , D. H.-W. World community and world
\religions.--
Mbiti , J. S. God, dreams and African militancy.--
Parrinder , E. G. Mysticism in African religion.--
Kudadjie , J.
N. Does religion determine morality in African societies?-
-King, N. Q. and D. J. F. Towards an African Strack
-
Billerbeck ?--
Sawyerr , H. Traditions in transit.--
Steemers , J.C. Culture embarrassment and religious fear.--Warren, M. A. C.
Political realities and the Christian mission.--
Pobee , J. S.
Church and State in Ghana, 1949-1966.--
Ashanin , C. B. The black
heroes of the Philadelphia plague in 1793.--
Nickles , A. A
religion in a pluralist society.--
Dickson , K. A. The minister-- then and now.--Walls, A. F. Towards
understanding Africa's
place in Christian history.--
Oduyoye , M. The Church in youth education--years ago or years to come.--
Braimah , B. A. R.
Islamic education in Ghana.--Blake, E. C. In one boat
Gennep , Arnold van, 1873-1957.
TITLE Rites de passage. English.
TITLE The rites of passage / ; translated by
Monika B. Vizedom and Gabrielle L.
Caffee\ ; introd by Solon T. Kimball.
PUBLISH INFO Chicago : University of Chicago Press, 1960.
Eliade, Mircea, 1907-
TITLE The myth of the eternal return; translated from the French by
Willard R. Trask.
PUBLISH INFO [New York] Pantheon Books [c1954]
DESCRIPTION 195 p. 25 cm.
SUBJECTS Cosmology.
MAIN Stacks BD701 .E41 c.2 AVAILABLE
Eliade, Mircea, 1907-
TITLE The sacred and the profane : the nature of religion. Translated
from the French by Willard R. Trask.
PUBLISH INFO New York : Harper & Row, [1961,c1959]
Rouget, Gilbert.
UNIF TITLE Musique et la transe. English.
TITLE Music and trance : a theory of the relations between music and
possession / Gilbert Rouget ; translation from the French
revised by Brunhilde Biebuyck in collaboration with the author.
PUBLISH INFO Chicago : University of Chicago Press, 1985.
DESCRIPTION xix, 395 p. ; 24 cm.
NOTES Translation of: La musique et la transe.
1 > MUS Stacks ML3920 .R681 1985 DUE 04-23-99
Welte, Frank Maurice, 1954-
TITLE Der Gnawa-Kult : Trancespiele, Geisterbeschworung und
Besessenheit in Marokko / Frank Maurice Welte.
PUBLISH INFO Frankfurt am Main ; New York : P. Lang, c1990.
DESCRIPTION 379 p. ; 23 cm.
SERIES Europaische Hochschulschriften. Reihe XIX, Volkskunde,
Ethnologie. Abt. B, Ethnologie ; Bd. 18.
NOTES Includes bibliographical references and indexes.
SUBJECTS Folklore -- Morocco.
Cults -- Morocco.
Trance.
Spirit possession.
LOCATION CALL NO. YEAR STATUS
1 > MAIN Stacks GR353.32.G63 W45 199 AVAILABLE
+-----------------------------------------------
Chlyeh, Abdelhafid.
TITLE Les gnaoua du Maroc : itineraires initiatiques, transe et
possession / Abdelhafid Chlyeh.
PUBLISH INFO [Morocco] : Editions La Pensee sauvage, c1998.
DESCRIPTION 158 p. : col. ill., maps ; 21 cm.
PLACE NAME Morocco Casablanca.
NOTES Includes bibliographical references (p. [145]-158)
SUBJECTS Gnawa (Brotherhood)
Folklore -- Morocco.
Cults -- Morocco.
Trance.
LOCATION CALL NO. YEAR STATUS
1 > MAIN Stacks GR353.3 C45 1998 1998 IN PROCESS
Religion in Africa : experience & expression / edited by Thoma
D. Blakely, Walter E.A. van Beek, Dennis L. Thomson with the
assistance of Linda Hunter Adams, Merrill E. Oates.
PUBLISH INFO London : J. Currey ; Portsmouth, N.H. : Heinemann, 1994.
DESCRIPT'N xvi, 512 p. : ill., maps ; 24 cm.
SERIES Monograph series of the David M. Kennedy Center for Internatio
Studies at Brigham Young University ; v. 4.
NOTE Includes bibliographical references (p. 443-483) and index.
CONTENTS Translatability in Islam & in Christianity in Africa : a thema
approach / Lamin Sanneh -- Beginnings & encounters : Islam i
East African contexts / Azim Nanji -- Cultural change & religious conversion in
West Africa / Jon P. Kirby -- Christ
African folk theology : the Nganga paradigm / Matthew
Schoffeleers -- African religion & Mormon doctrine :
comparisons & commonalities / Dennis L. Thomson -- Ifa : a W
African cosmological system / Wande Abimbola -- The promise
greatness : women & power in an Edo spirit possession cult /
Paula Grishick Ben-Amos -- Candomble : a socio-political
examination of African religion & art in Brazil / Mikelle Sm
Omari -- Drums of affliction : real phenomenon or scholarly
chimera? / John M. Janzen -- Archaeological & other prehisto
evidence of traditional African religious expression / Pierr
de Maret.
The innocent sorcerer : coping with evil in two African societ
(Kapsiki & Dogon) / Walter E. A. van Beek -- Myth & epic in
Central Africa / Luc de Heusch -- Kimbanguism & the question
syncretism in Zaire / Wyatt MacGaffey -- Jamaa : a charismat
movement revisited / Johannes Fabian -- Protestant missions
Africa : the dialectic of conversion in the American Methodi
Episcopal church in Eastern Zimbabwe, 1900-1950 / Terrence O
Ranger -- Prophetism, democharisma, & social change / Asmaro
Legesse -- Gola womanhood & the limits of masculine omnipote
/ Warren L. d'Azevedo -- Male & female secret societies amon
the Bafodea Limba of Northern Sierra Leone / Simon Ottenberg
Bringing the extraordinary into the ordinary : music
performance among the Kpelle of Liberia / Ruth M. Stone --
Ancestore, "withchcraft", & foregrounding the poetic : men's
oratory & women's song-dance in Hemba Funerary performance /
Pamela A. R. Blakely, Thomas D. Blakely.
Africa [sound recording] : witchcraft & ritual music.
PUBLISH INFO Los Angeles, Calif. : Nonesuch, p1975.
DESCRIPTION 1 sound disc : analog, 33 1/3 rpm, stereo. ; 12 in.
SERIES Explorer series.
NOTES Folk songs and dances.
"Recorded in Kenya and Tanzania by David Fanshawe."
Program notes by Fanshawe on container.
CONTENTS Ngoma ra mrongo (Kenya) (4:50) -- Mwari initiation (Kenya) (1:
-- Coconut pickers song (Kenya) (3:05) -- Matondoni wedding
(Kenya) (2:07) -- Marimba (Tanzania) (3:07) -- Tuken moral
songs (Kenya) (6:10) -- Giriama spirit dance (Kenya) (2:18)
Kayamba dance: Giriama wedding (Kenya) (4:35) -- Alto bung'o
lqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqq
x LOCATION CALL NO. YEAR STATUS
x1 > MUS AV Desk: LPs LP13550 USE IN LIBRARY
mqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqq Ngoma ra mrongo (Kenya) (4:50) --
Mwari initiation (Kenya) (1:
-- Coconut pickers song (Kenya) (3:05) -- Matondoni wedding
(Kenya) (2:07) -- Marimba (Tanzania) (3:07) -- Tuken moral
songs (Kenya) (6:10) -- Giriama spirit dance (Kenya) (2:18)
Kayamba dance: Giriama wedding (Kenya) (4:35) -- Alto bung'o
horn (Kenya) (0:42) -- Akamba witch doctor (Kenya) (4:07) --
Pokot witch doctor (Kenya) (3:03) -- Pokot dance (Kenya) (1:
-- Song of dawn (Kenya) (1:43) -- Lukuji (Kenya) (2:57) --
Nyatiti (Kenya) (3:06) -- Funeral dance (Kenya) (2:32)
The spirit's dance in Africa : evolution, transformation and
continuity in Sub-Sahara / edited by Esther A. Dagan;
introduction by Simon Ottenberg,
PUBLISH INFO Westmount, QC, Canada : Galerie Amrad African Arts Publication
c1997
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x LOCATION CALL NO. YEAR STATUS
x1 > BSL Stacks GV1588.6 .S57 1997
Drums of West Africa [sound recording] : ritual music of Ghana
PUBLISH INFO New York, N.Y. : Lyrichord, [n.d.]
DESCRIPTION 1 sound disc : analog, 33 1/3 rpm, stereo. ; 12 in.
NOTES Recording and notes by Richard Hill.
Performed on instruments of the traditional Ewe drum orchestra
atsimevu, sogo, kidi, kloboto, kagan, gankogui, and axatse.
SUBJECTS Music -- Ghana.
Musical instruments -- Ghana.
lqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqqq
x LOCATION CALL NO. YEAR STATUS
x1 > MUS AV Desk: LPs LP13632
Drewal, Margaret Thompson
TITLE: Ritual performance in Africa today
SOURCE: T D R: A journal of performance studies vol. 32, no. 2,
summer 1988, p. 25-30. ISSN: 0012-5962.
SPEC FEATURE: Illus., bibliog.
Jacobs, Claude F. (Claude Francis), 1943-
TITLE The Spiritual churches of New Orleans : origins, beliefs, and
rituals of an African-American religion / Claude F. Jacobs and
Andrew J. Kaslow.
EDITION 1st ed.
PUBLISH INFO Knoxville : University of Tennessee Press, c1991
Johnston, Thomas Frederick
TITLE: The secret music of nhanga rites
SOURCE: Anthropos vol. 77, no. 5-6, 1982, p. 754-774. ISSN: 0257-
9774.
DOC TYPE: ap -- Article in a periodical
CLASS: Ethnomusicology (including history of music other than
Western): Africa
: The fertility rite known as nhanga prepares girls for
womanhoo
Bourguignon, Erika, 1924-
Religion, altered states of consciousness, and social change.
Edited by Erika Bourguignon. Columbus, Ohio State University Press, 1973.
MUS Stacks BL53 .B725 AVAILABLE
MAIN Stacks BL53 .B725 c.2 AVAILABLE
HENNEY, JEANNETTE HILLMAN.
TITLE SPIRIT POSSESSION BELIEF AND TRANCE BEHAVIOR IN A
RELIGIOUS GR IN ST. VINCENT BRITISH WEST INDIES. 1968.OSU Book Depository
THESIS1968PHDHJHS USE IN LIBRARY
Bucke (R.M.) Memorial Society.
Trance and possession states, edited by Raymond Prince. Proceedings [of the] second annual
conference, R. M. Bucke Memorial Society, 4-6 March 1966, Montreal. Montreal, R. M.
Bucke Memorial Society, c1968] MAIN Stacks BF1321 .B8 c.3
Trance, healing, and hallucination; three field studies inreligious experience [by] Felicitas
D. Goodman, Jeanette H. Henney [and] Esther Pressel.
New York, Wiley 1974, 388 p. Contemporary religious movements. A Wiley-Interscience
publication." Each field study was originally presented as a thesis, Ohio St University.
CONTENTS Henney, J. H. Spirit-possession belief and trance behavior in fundamentalist
groups in St. Vincent.--Pressel, E. Umbanda trance and possession in Sao Paulo,
Brazil.--Goodman, F. D. EHS Stacks BV5090 .T7
AUTHOR Zaretsky, Irving I.
Bibliography on spirit possession and spirit mediumship. Compiby Irving I. Zaretsky.
Berkeley, Dept. of Anthropology, University of California 106 p Second ed. published in
1978 under title: Spirit possession an spirit mediumship in Africa and Afro-America.
MAIN Reference Z6879.A3 Z3
KILSON, Marion
TITLE: Kpele lala: Ga religious songs and symbols.
SOURCE: (Cambridge, Mass.: Harvard U., 1971) 313 p. $7.50.
The texts of more than 240 of the traditional songs (lala) o
kpele ritual derive from the re
Jules-Rosette, Bennetta
1975b "Song and Spirit: the Use of Song in the Management of Ritual Settings."
Africa 45/2.
1975b "Song and Spirit: the Use of Song in the Management of Ritual Settings."
Africa 45/2.
Friedson , Steven. Dancing Prophets: Musical Experience in
Tumbuka Healing. Chicago: University of Chicago Press, 1996
Mbiti , John. Introduction to African Religion. Oxford:
Heinemann , 1991. 2nd rev .ed.
Nketia ,J.H.Kwabena
"African Gods and Music." (mimeograph,
n.d.)
Pauw , Berthold. Christianity and Xhosa Tradition: Belief and Ritual among Xhosa
-Speaking Christians. Cape Town; New York: Oxford University Press, 1975
Ray, Benjamin. African Religions: Symbol, Ritual, and Community. Englewood Cliffs,
N.J.: Prentice-Hall, 1976
Ruel , Malcolm. Belief, Ritual and the Securing of Life: Reflexive Essays on a Bantu
Religion. Leiden; New York:
E.J. Brill, 1997
Turner, Victor Witter
The Drums of Affliction: A Study of Religious Processes among
Ndembu of Zambia. Oxford: International African Institute, 1968
Velez, Maria Teresa, 1952-
TITLE Drumming for the gods : the life and times of Felipe Garcia
Villamil, santero, palero, and abakua / by Maria Teresa Velez.
PUBLISH INFO Philadelphia : Temple University Press, 2000
WHAT DO YOU KNOW!--quiz review items
[1] Draw diagram/chart that show the hierarchy/type or variety in the world of spirits in Africa
[2] Write down the classic THREE stages often associated with initiation ritual
[3] Give TWO examples that show the importance of "ancestors" in the African world view
[4] Give an example that shows relationships between personal names and social expectation, belief, or attitude
IDENTIFY THE FOLLOWING TERMS (one sentence,
each)
a. divination
b. cowrie
c. kwaanza
d. Rites of Passage
e. liminal/subliminal
f. pantheon
g. Yoruba
h. Ewe
i. anthropomorphic
j. Dahomey
k. voodoo
l. jùjú
m. tonal language
n. libation
o. animism
MUSIC
p. time-line
q. overlapping call-and-response
r. give two contexts/occasions that are often
accompanied by music and dance
s. list the FOUR COMPOMENTS OF "MUSIC"
t. African musical instruments can divided into 5
categories: List three of this categories
u. Describe one way in which religion, belief, or
ideas about the supernatural are articulated in musical performances
v. In African drum ensembles (especially in
West and Central African traditions) the drums areusually grouped along
[a] 2 [b] 3 [c] 4
[d] 5 basic layers of sound type
w. In this type of rhythm a feeling of 2
beats goes simultaneously with a feeling of 3 beats:
[a] unison [b]
crochet [c] polyrhythm [d] cross rhythm
x. Descrine one other context apart from normal music making in which Call-and-Response is often involved
y. Give an example that show the symbolic usage of musical instruments
z. Give TWO types of sound that are used symbolically among the Ewe during exorcism rituals
A. List FOUR of the common areas/features found in African music
IDENTIFY GIVEN OBJECTS (4 items)
B. List TWO functions (i.e., specific aesthetic,
symbolic or musical) of the following
objects
i. cowrie ii.
calabash iii. Fly-switch
B. Identify the CATEGORY of the following musical instruments (show picture):
C. List TWO NON-MUSICAL CHARACTERISTICS that are common Sub-Saharan African peoples
D. Give the name of the American stringed
instrument that has its ancestry African stringed instruments
NB:
This is a take-home exam in place of the original term paper. You are
expected to spend up to a week completing this exam—OFFICIALLY DISTRIBUTED ON
MONDAY, MAY 12and IS DUE, WITHOUT EXCEPTIONS/EXCUSE ON MONDAY, MAY 19.
Online version of this is
accessible at my homepage (see syllabus): http://aaas.ohio-state.edu/dka
"The Disease of the
Prophets: Musical Construction of Clinical Reality"
A:
Briefly (one sentence)
define/identify the following terms:
1. Tumbuka__________________________________________________________________________
2.Mboni____________________________________________________________________________
3.Vimbuza__________________________________________________________________________________
5.Nchimi_____________________________________________________________________________________
6.Muzungu___________________________________________________________________________________
7.Mulungu____________________________________________________________________________________
8.Mizimi_____________________________________________________________________________________
9.Divination___________________________________________________________________________________
10. Syncretism___________________________________________________________________________________
11. Etiology____________________________________________________________________________________
12. Kwaya______________________________________________________________________________________
13. Thempli____________________________________________________________________________________
1. Name three occasions or
events that are accompanied my music and dance in this society
I______________________II.______________________III_________________
2. Name the one most
frequent musical event (i.e., event that is accompanied by music) in
this society_______
3. Give at least one example
from this essay that confirms what we have learned in class about the
importance of ancestors African daily life, belief, etc.
6. Summarize, in one
sentence, the role or importance of dreams in this people’s belief/ritual
8. What are some common themes
of hymns sung in these healing sessions?
12. Describe here the skills
that an nchimi must have
13. List 2 examples of Christian
influences in Tumbuka healingI___________II_________
14. Drummers who play for
healing sessions are full-time professions and are paid accordingly:TRUEFALSE
15. Drummers/musicians for
healing-trance sessions are themselves often possessed: TRUEFALSE
SENIOR FINALS REVIEW—AAAS 342 SPRING 2003
importance of ANCESTORS in:
a. religious and ritual practices b. daily life and general
superstition (specific examples are needed, beginning with
the belief that the ancestors coexist with the living, that they cause illness
if disrespected at will or by accident, reincarnation practices, royal
stools/symbols and kings as links to ancestors, belief in spirits of ancestors
that can possess the living, etc….REVISE NOTES, COURSEPACK, MBITI)
write a one-page essay in which you describe or illustrate the universal validity of the classic three stages/states in a rite of passage: SEPARATION-TRANSITION-REINTEGRATION. Your examples SHOULD include the following ones discussed in class: 1. GRADUATION CEREMONY 2. KINGSHIP/INSTALLATION CEREMONY 3. ANY FUNERARY OR FRATERNITY/SORORITY RITUALS 4. YEVE-SHANGO RITUAL
Again, you must be specific; marks will be deducted for being vague,
unclear, or incomplete information
Write a paragraph in which you describe in detail, the STRUCTURE, CONTENT,
AND FUNCTION OF LIBATION. You must absolutely address the THREE areas, with
specific examples (CONTENT = what items are used?), including SYMBOLIC
GESTURES.
TERMS TO IDENTIFY
Juju, Yoruba, Matrilineal, pantheon, tonal language, vodou
(voodoo), Santería, Dahomey, neophyte, animism, flagillant,
threshold/liminal, Ewe, anthropomorphic, kalimba/mbira, poro/sande, the
most frequent/important colors used in ritual
>>Briefly describe 3 types of ordinary/unusual/ or musical sounds that are used symbolically in ceremonial or ritual context (at least one of the examples MUST COME FROM AMONG THE ANLO-EWE –see essay on “DEE HOO!”
>>Describe one example in which a musical instrument (NOT THE SOUND) is used symbolically in an African ritual or belief (one sentence, but specific)
>>Describe 3 uses (i.e., SPECIFIC musical, ordinary, and
ritual-symbolic use) of a flywhisk, cowrie, calabash NO MARKS WILL BE
GIVEN IF NO SPECIFIC EXAMPLE IS GIVEN
GIVE SPECIFIC EXAMPLES FROM THE DISCUSSION OF YEVE-SHANGO CULT THAT ILLUSTRATE:
>> 2 SPECIFIC WAYS IN WHICH MEMBERS ARE IDENTIFIED/SET APART FROM THE REST OF THE GENERAL SOCIETY PERMANENTLY.
>>3 SPECIFIC EXAMPLES THAT MARK/SHOW INITIAL SEPARATION FOR A NEW MEMBER
>>1 (ONE) EXAMPLE THAT MARKS THE STAGE OF TRANSITION
>>1 EXAMPLE THAT MARKS THE STAGE OF REINTEGRATION
>> 2 EXAMPLES THAT SHOW HOW MUSIC AND MUSICAL INSTRUMENTS ARE USED TO IDENTIFY YEVE/SHANGO AND/OR SPECIFIC STAGE OR TYPE OF RITUAL IN YEVE/SHANGO
FORMAT: See midterm examples--A few TRUE/FALSE items, matching terms,
short responses, short essays (see above)