Abstract
Yoruba devotional music for the orishas (deities) in Nigeria and the Cuban diaspora routinely intermeshes heightened speech, song, instrumental music, and dance, yet movement—in its full range of expressive manifestations—has received little scholarly attention within a growing body of comparative research in this field. Challenging the dominance of linguistic methods to comparative orisha research specifically and musical research more generally, Villepastour asserts the need for a holistic approach, which not only demands the incorporation of music’s sonic components, but gives equal importance to its bodily expressions including gesture, dance, and trance behavior.
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
