How Kings are Made, How Kingship Changes : A Study of Ritual and Ritual Change in Pre-Colonial Owamboland, Namibia

This study discusses the legitimacy basis of political power and its changes in historical African societies. It starts from Luc de Heusch s tenet that political power required a legitimacy basis of a spiritual kind, often formulated as sacred kingship. In ancient and pre-literate societies such kings were held to be responsible for the fertility of man, land and cattle. The king was a paradoxical figure, symbolising society, but standing above it, while simultaneously being its victim by being ritually killed at old age. This was also how Owambo sacred kings were conceived. De Heusch suggested that African kings derived their power over fertility from having been made sacred monsters in the rituals of installation. With the example of Owambo kingship, this study argues that the transgressive and monstrous aspect is only one of several dimension of a king s sacredness and brings out the nurturing and symbolically female aspect, identified but not analysed further by de Heusch. In the Owambo kingly installation a king-elect was made sacred, and part of it was that a link was ritually created to the early owners of the land. Their consent made it possible for the king to promote fertility and to appropriate power emblems needed for ruling. In the kingdom of Ondonga the early owners of the land were the spirits of early Bushman inhabitants and those of an early kingly clan, both neglected in public memory. The sacred dimension of kingship was further augmented when kings manipulated and appropriated rain rituals and initiation rituals, both of which were related to fertility. The study argues that even though there were aspects of the sacred monster in Owambo kingship, its manifestation was, in part, a distortion of the reciprocal aspect of kingship that was expressed in the homage paid to various ancestor spirits. A change in succession practices from ritual regicide to political assassination took place concomitant with the introduction of firearms, and this broke the sacrificial aspect of sacred kingship paving the way for a more predatory form of kingship while the sacred status of the king was retained.

Cosmic Clowns : Convention, Invention, and Inversion in the Yaqui Easter Ritual

Cosmic Clowns: Convention, Invention, and Inversion in the Yaqui Easter Ritual is an ethnographic study of masked clown figures called Chapayekas. They represent Judas and the Roman soldiers in the Passion play that forms the narrative core of the Easter ritual of the Yaquis, an indigenous group in Sonora, Mexico. The study looks at how the Chapayeka is created as a ritual figure, how their performance is constructed, and what the part of the clown is in the dynamics of the ritual. The material was gathered over three periods of anthropological fieldwork in Cócorit, Sonora during Easter in 2004, 2006 and 2007. The Chapayeka masks portray foreigners, animals, mythological figures, and even figures from television and movies. They combine two kinds of performance: they perform set, conventional actions, and improvise and invent new ones. This creates dialectics of invention and convention that allow the figure to mediate between the ritual and its context and different kinds of beings within the Yaqui cosmology. The conventional side of their performance is a cycle of death and rebirth that is an inversion of the cycle of Jesus. Through invention, they separate themselves from the other performers and make themselves powerful. Alternation between the two modes enhances that power and brings it into the conventions of the ritual; ultimately the Chapayekas revitalize the entire ritual. The study finds that the clowns are extremely important to the continuity of both ritual and culture, as the combination of continuity and change, convention and invention, is what makes it possible to recreate the conventions of Yaqui culture as powerful and compelling in various contexts. Another factor is the prevalence of dialectical mediation, which relates concepts by defining them against each other as opposites, and makes it possible to cross a boundary while keeping it intact. Clowns embody and create dialectics to mediate boundaries while guarding against relativization, the disappearance of distinctions. The Chapayekas create and constitute boundaries between the self and other, microcosm and macrocosm, sacred and profane. The study argues that all clown and trickster figures are characterized by constantly alternating between invention and convention; this is what connects them to the collective and moral aspect of culture and, at the same time, makes them unpredictable and powerful. It is possible to do justice to the opposed aspects of these ambiguous and paradoxical figures by taking into account the different foundations and contextual effects of the different modes of symbolization.

¿Actividad cotidiana o práctica ritual? Agrupación de 14 colgantes líticos del Magdaleniense Inferior en la cueva de Praileaitz 1 (Deba, Gipuzkoa)

Homenaje a Ignacio Barandiarán Maestu / coord. por Javier Fernández Eraso, Juan Santos Yanguas

A propósito de una posible escena ritual de caza en el abrigo de Legteitira 5 (Agüenit, Sahara Occidental)

[ES] La presencia de unos personajes humanos con grandes cabezas pintadas en uno de los paneles artísticos del abrigo de Legteitira 5 genera diversas impresiones sobre su significado. A lo extraño de la composición, hay que añadir que se trata, por el momento, de un caso único en el repertorio iconográfico del Occidente del Sahara. La hipótesis de una posible relación con cabezas enmascaradas, en el contexto simbólico de una escena ritual cinegética, pudiera acaso retenerse como argumento explicativo.

Ídolos-espátulas del País Vasco: fabricación, cronología y paralelos

[ES] La industria ósea postpaleolítica, por lo general, pocas veces ha merecido la atención que se le ha concedido a la fabricada durante el Paleolítico Superior. No obstante una de dichas excepciones serán los denominados ídolos-espátulas con decoración acanalada en su mitad proximal, trabajados sobre tibias de "Capra/Ovis" y procedentes por lo que hasta ahora conocemos de contextos sepulcrales megalíticos. En su morfología deben de señalarse el extremo activo romo, al modo de otras espátulas tan comunes en contextos neolíticos, y el extremo proximal decorado con profundos acanalamientos que conforman motivos geométricos más o menos complejos (espiral, zig-zag, etc.) en unos casos y en menos alguna figura antropomorfa femenina. Los primeros hallazgos se realizaron en la provincia de Álava durante la década de los sesenta, destacando entre ellos los procedentes del sepulcro de corredor de San Martín (Laguardia), a los que se sucedieron otros como los de Kurtzebide, Los Llanos, etc. en el mismo territorio y los importantes conjuntos hallados en distintas provincias de la Meseta Norte y en La Rioja. Todos ellos debido al tipo de contexto del que proceden y las características de los ídolos-espátula ritual dan cierto grado de homogeneidad ideológico o religioso a todo el territorio. No obstante, fuera de este territorio y muy alejados desde el punto de vista geográfico existen otros ejemplares (Tell Halula -Siria-, Sesklo, Agios Petras -Grecia-) que muestran gran similitud tipológica aunque no un nexo de unión entre ambas zonas. Por otra parte, hay que subrayar la notable mayor antigüedad del foco oriental y que el contexto del que proceden no es funerario como en el caso de los ejemplares occidentales.

Elégùn: Ritual e Formação Humana

Este estudo tem como objetivo central investigar o processo de constituição de identidades ritualístico-culturais dos adeptos dos cultos negros brasileiros a partir dos rituais de iniciação propostos pelas comunidades de cultos. A partir de sua consagração ritualística,os iniciados são denominados elégùn e passam a conviver entre o sagrado, por intermédio da concepção da ancestralidade divinizada, e as relações estabelecidas no devir de sua história. Foi fulcral para este estudo a correlação feita pelos adeptos entre suas práticas ritualísticas e sua formação histórica, social, política e, sobretudo, cultural. Permeado pelas histórias e pelas memórias individuais e, em alguns momentos, coletivas, o estudo entremeia-se aos aportes teóricos de, propondo constante diálogo entre eles. A concepção de que as culturas que se efetivam e se estabelecem mediante relações construídas e vivenciadas no cotidiano são ações profícuas e intensas de identidades próprias cunhou grande parte do referido estudo. Observou-se que a ancestralidade transita pelas diversas esferas vividas pelo elégùn, interagindo, integrando e reelaborando rituais e sujeitos.

Bancos de uso ritual tallados en madera de los indígenas Cubeo y Piratapuyos del Vaupés.

14 hojas : ilustraciones, fotografías a color.

Vasijas y piezas de diseño precolombino de tipo funcional y ritual elaboradas en arcillas en el Huila.

22 hojas : ilustraciones, fotografías a color

The parish priest on duty : a practical manual for pastors, curates, and theological students preparing for the mission : being a brief summary of the prescribed manner of administering the sacraments, the service of the dead, and sundry other pastoral functions in accordance with the Roman Ritual (The Sacraments) / by H.J. Heuser.

http://www.archive.org/details/theparishpriesto00heusuoft

Irish neo-paganism: worldview, ritual and identity

Neo-paganism is a vibrant, dynamic global movement, which has had a significant cultural impact. Neo-paganism is an umbrella term for a wide range of spiritual practices, often described as nature- or earth-based spirituality. There are different “paths” or spiritual traditions within this movement, of which Druidry, Wicca and other forms of Pagan Witchcraft are included in this research. The present work is an ethnographic study of the worldview and ritual practices of the Irish neo-pagan community. It is an enquiry into (a) what characterises the neo-pagan worldview and (b) how this worldview is expressed through ritual behaviour. In order to collect data, the methodology of participant observation and ethnographic interviewing was employed. The thesis comprises a collection of “insider” accounts of what it is like to be a neo-pagan in Ireland and analysis of these narratives, which gives insight into different aspects of neopagan culture. In the discussion, the use of mythology is examined in regard to how mythic narrative is connected to identity formation. Irish cultural symbols are observed as resources utilised in the construction of the movement’s overall character. The interconnectedness of the natural landscape, the numinous and mythology gives rise to creative expression through various forms of neo-pagan artworks, which are discussed herein. The identifying features and key issues of Irish neo-pagan culture are addressed. These key issues are expressed as prominent themes and symbols of their discourse. Neo-pagan dialogue often features discussion of the relationship that this cultural group has with the Irish landscape, history, and indigenous and popular Irish religion. Some of the specific aspects of neo-pagan culture examined are magical worldview, the notion of holism, different types of ritual practices (festivals, life cycle rituals, healing), and material culture. The thesis presents an in-depth analysis of neopagan cultural expressions and their significance as cultural processes

Revolution and the ritual year: religious conflict and innovation in Cristero Mexico

This article analyses Catholic responses to persecution of the Church by the Mexican state during Mexico's cristero rebellion (1926–9) and seeks to make a new contribution to the revolt's religious history. Faced with the Calles regime's anticlericalism, the article argues, Mexico's episcopate developed an alternative cultic model premised on a revitalised lay religion. The article then focuses on changes and continuities in lay – clerical relations, and on the new religious powers of the faithful, now empowered to celebrate ‘white’ masses and certain sacraments by themselves. The article concludes that persecution created new spaces for lay religious participation, showing the 1910–40 Revolution to be a period of religious, as well as social, upheaval.