Part Of Ceremony Research Articles

Beads and Stamps in the Middle Orinoco: Archaeological Evidence for Interaction and Exchange in the Atures Rapids from AD 1000 to 1480

AbstractThe area of the Atures Rapids in the Middle Orinoco River (Venezuela), where multiple Indigenous communities gathered to trade goods, has been identified as a prominent center of commerce since early colonial times. However, the exchange activities taking place there between local and nonlocal actors before European colonization are poorly understood, based only on the ethnohistoric record. This article presents an archaeometric analysis of stone beads and ceramic roller stamps, items previously associated with trade practices, from two recently excavated sites in the region, Picure (AD 1030–1480) and Rabo de Cochino (AD 1000–1440); it assesses their provenance, production, and value. We propose that Picure was a site of a bead-manufacturing workshop and a place where roller stamps were exchanged. The stamps were acquired and produced by different potting groups. Analysis of the chaîne opératoire and production techniques shows processes of adaptation and emulation associated with the multiple, multiethnic communities during the period from AD 1000 to 1480. Both beads and stamps are linked to identity regalia that were likely used as part of ceremonies taking place in the area of the Rapids, as indicated by the numerous and monumental petroglyphs found on the islands.

Mindfulness Has Parallels to Indigenous Cultural Practices

Mindfulness Has Parallels to Indigenous Cultural Practices

Social singing, culture and health: interdisciplinary insights from the CHIME project for perinatal mental health in The Gambia.

SummaryArts in Health initiatives and interventions to support health have emerged from and been applied to mainly WEIRD (Western, Educated, Industrialized, Rich and Democratic) contexts. This overlooks the rich cultural traditions that exist across the globe, where community groups often make prolific use of participatory song and dance as a part of ceremonies, ritual and gatherings in everyday life. Here, we argue that these practices can provide a valuable starting point for the co-development of health interventions, illustrated by the CHIME project for perinatal mental health in The Gambia, which worked with local Kanyeleng groups (female fertility societies) to design and evaluate a brief intervention to support maternal mental health through social singing. Here, we use the project as a lens through which to highlight the value of co-creation, cultural embeddedness and partnership building in global health research.

African Masking Systems: An Archive Of Social Commentary

October 21 2021 African Masking Systems: An Archive Of Social Commentary Samuel Nortey, Samuel Nortey Samuel Nortey is an artist and an associate professor in the Department of Industrial Art (Ceramics Section), Kwame Nkrumah University of Science and Technology (KNUST), Ghana. He holds a PhD in African Art and Culture. He is a multicultural fellow of the National Council for Education of the Ceramic Arts (NCECA) and has worked with several art centers in Ghana developing the frontiers of art production. Nortey's publications are in ceramic art, art history, art education and issues of contemporary art. He has been involved in many local and international exhibitions and reviews. snortey.art@knust.edu.gh Search for other works by this author on: This Site Google Scholar Edwin K. Bodjawah, Edwin K. Bodjawah Edwin Kwesi Bodjawah is an artist, associate professor in the Department of Painting and Sculpture, KNUST, and the coordinator of the Opoku Ware II Museum at KNUST. He is a principal trustee and patron of blaxTARLINES, KUMASI. Through decommissioned materials he researches serial reproduction of African mask forms. Search for other works by this author on: This Site Google Scholar Kwaku Boafo Kissiedu Kwaku Boafo Kissiedu Kwaku Boafo Kissiedu (Castro) is a cofounder and the administrative director of blaxTARLINES, KUMASI. He is a senior lecturer at the famed Fine Art Department of KNUST, Kumasi, Ghana, where he, and other colleagues, have pioneered revolutionary changes in fine art pedagogy, turning out emerging artists who are making waves worldwide. Search for other works by this author on: This Site Google Scholar Author and Article Information Samuel Nortey Samuel Nortey is an artist and an associate professor in the Department of Industrial Art (Ceramics Section), Kwame Nkrumah University of Science and Technology (KNUST), Ghana. He holds a PhD in African Art and Culture. He is a multicultural fellow of the National Council for Education of the Ceramic Arts (NCECA) and has worked with several art centers in Ghana developing the frontiers of art production. Nortey's publications are in ceramic art, art history, art education and issues of contemporary art. He has been involved in many local and international exhibitions and reviews. snortey.art@knust.edu.gh Edwin K. Bodjawah Edwin Kwesi Bodjawah is an artist, associate professor in the Department of Painting and Sculpture, KNUST, and the coordinator of the Opoku Ware II Museum at KNUST. He is a principal trustee and patron of blaxTARLINES, KUMASI. Through decommissioned materials he researches serial reproduction of African mask forms. Kwaku Boafo Kissiedu Kwaku Boafo Kissiedu (Castro) is a cofounder and the administrative director of blaxTARLINES, KUMASI. He is a senior lecturer at the famed Fine Art Department of KNUST, Kumasi, Ghana, where he, and other colleagues, have pioneered revolutionary changes in fine art pedagogy, turning out emerging artists who are making waves worldwide. Online Issn: 1937-2108 Print Issn: 0001-9933 © 2021 by the Regents of the University of California2021Regents of the University of California African Arts (2021) 54 (4): 52–63. https://doi.org/10.1162/afar_a_00612 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn Email Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Search Site Citation Samuel Nortey, Edwin K. Bodjawah, Kwaku Boafo Kissiedu; African Masking Systems: An Archive Of Social Commentary. African Arts 2021; 54 (4): 52–63. doi: https://doi.org/10.1162/afar_a_00612 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search nav search search input Search input auto suggest search filter All ContentAll JournalsAfrican Arts Search Advanced Search African masking systems have the potential to contribute to the conversation around the relationship between contemporary art and providing an archive of social commentary. In precolonial times and in geographical locations across Africa, these masking systems connect and integrate cultural practices and the infrastructure of these communities. Nortey, Bodjawah, and Kissiedu (2019) have explained that most African masks were not used in isolation, as mere objects offering visual pleasure, but were part of ceremonies that were cross-genre in nature, often embedded with layers of history, politics, and other important provenances. These African sculptures come alive in a variety of exhibition spaces; every member of the audience is engaged in the discussion or documentation of history through the communal nature of these masking ceremonies. History also chronicles the significance and contribution of the environment... © 2021 by the Regents of the University of California2021Regents of the University of California You do not currently have access to this content.

Индийские артистические сообщества и практики транса: локальные традиции Гуджарата, Ассама и Кералы

The paper provides a comprehensive comparative cultural and anthropological study of Indian artistic communities — dynasties of musicians, dancers, actors, performers of epic legends playing ritual drama, martial arts masters. A peculiar common Indian feature is the combination of three factors in their activity: artistic skills passed during regular training; religious service (most artistic activities are in one way or another devoted to certain cults and/or turn out to be part of ceremonies) and skills of controlled trance, specific psychophysical states, which in this case include on-stage reincarnation and the ability to impact spectators. The ethnographic material obtained during the expedition helps to trace the social and psychological features of some dynasties of artistic communities.

ANALYSIS OF INTERPERSONAL METAFUNCTION IN MENGKET RUMAH MBARU TRADITION KARONESE SOCIETY

Karonese mengket rumah mbaru tradition is a ceremony to thank God and to share happiness to the relative and friends because one manages to build his own house. Karonese has a community kinship system named merga si lima, rakut si telu, perkadekaden sisiwah tambah sada. All of them have different functions in mengket rumah mbaru tradition. There is one part of mengket rumah mbaru ceremony that all of them give some kind speech to the host. This research try to find out interpersonal metafunction meaning in the mengket rumah mbaru traditionis. This research employs descriptive qualitative to analyze interpersonal meaning performed in the ceremony by studying the utterances by anak beru, kalimbubu and senina during in one part of the ceremony. The researcher directly involves in this ceremony to observe all the data. Theory of interpersonal meaning proposed by M.A.K Halliday is applied to analyze and classify the mood auxiliary, personal pronoun in pronoun system. The finding informed that mood positive declarative appears 88,4%. Imperative appear 10.1 %, negative declarative 0%. There are 25 modal verbal found in the ceremony, “will 52% must 16%, can 32% 0%. Personal pronoun “we” 60%, you 24, it =9, she3%, he 4%. Tenses shift future 60%, present tense 40%, and past 10%.

Postcolonial healing landscapes and mental health in a remote Indigenous community in subarctic Ontario, Canada

ABSTRACTThe concept of therapeutic landscape is concerned with a holistic, socio-ecological model of health, but most studies have attempted to explore land-health links from a Western perspective. On an Indigenous reserve in Northern Ontario, part of the Canadian subarctic, we explore the importance of spaces and places in creating postcolonial therapeutic landscapes to treat the wounds inflicted by colonialism. The aim of this research is to gain insight from views and experiences of First Nations residents living on reservations that are undergoing a process of regaining traditional spiritual beliefs and teachings to construct therapeutic spaces to face mental health problems caused by legal opioid analgesic abuse. This qualitative study used semi-structured interviews with Cree and Ojibwe participants to understand how they are reconnecting with earth, spirituality and traditional animist beliefs on their way to recovery. We find that practices such as taking part in ceremonies and ritual spaces, and seeking knowledge and advice from Elders assist with personal healing and enable Indigenous people to be physically and mentally healthy. Our research findings provide important insights into the relationship between space, healing and culture as determinants of health and well-being and document some key factors that contribute to substance abuse recovery.

“Who Gives This Woman to Be Married to This Man?” Implications of a Question

Abstract In recent years the part of the marriage ceremony where the bride was to promise to “obey” her future husband has been removed. However, the part of the ceremony referred to as “the giving away of the bride” remains. This question implies that a transfer of property in the form of the bride is occurring from the bride's parents to the groom. The question is demeaning and implies patriarchy-the subordination and subjection of women to men. This article examines this question in the light of patriarchy historically and currently and suggests alternatives to this part of the contemporary marriage rite.

Group Symmetries Connect Art and History with Mathematics

Throughout history, different cultures have produced designs to be used as ornamentation, as part of ceremonies, and as religious symbols. Many of these designs are mathematical in nature, and their bases are often the transformations of reflection and rotation in the plane. The images form groupings that appear to have an underlying unity. Thus, history and art merge to create a medium through which students can study the concrete operations of reflection and rotation in the plane, as well as the more abstract concept of symmetry groups. The resulting patterns give students a sense of the potential for creativity inherent in mathematics.

PRIMARY PHOTOCHEMISTRY OF PHOTOSYNTHESIS Report on a Conference held at Argonne National Laboratory, November 1971

SummaryIn conclusion, the conference was judged to be extremely useful for the 230 persons who attended, and all departed with an optimistic enthusiasm about the certainty of progress in this field over the next 5 to 10 years. A statistic that perhaps represents a new record and should be shared to underscore the significance of the meeting to researchers in this area of photosynthesis is that out of 59 scheduled speakers all were in attendance and only one had to be replaced because of a commitment to take part in ceremonies for the 150th anniversary of a famous university in the East. From our experience with the form of the meeting, we feel that the open attendance but limited subject concept is a highly desirable meeting form and should be used for most scientific meetings.

Game and Earnest in the Middle English and Provencal Love Lyrics

ECENT criticism of mediaeval love lyric offers little comfort to modern reader in search of personal feeling and emotion. Le caractere commun de la poesie 'romane' [c. 1000-1200], dans toutes ses manifestations, est son objectivite, writes Paul Zumthor, who devotes major part of his study to lyric.l L'ceuvre medievale est style, he insists-as does Roger Dragonetti in his study of trouveres.2 A third critic, John Stevens, observes in his study of early Tudor lyric and its mediaeval backgrounds, the uncertainty remains that it was rarely, if ever, first duty of music to express emotion for its own sake. It should rather be regarded as part of worship, part of ceremony, part of an allegorical entertainment or a moral play. He then refers to similar applied nature of other mediaeval arts.3 Similarly, Zumthor emphasizes that poem, by its being perfectly fashioned, excites admiration and joy, mais il n'emeut pas. Du moins, s'il emeut, c'est la un effet secondaire et de surabondance (p. 180). All this recalls D. W. Robertson's warning that mediaeval poet was not so much interested in his own moods or emotions as in a reality

Magic in Mexico

IT has been remarked by more than one observer of the population of Mexico that whether account be taken only of the indigenous inhabitants of purely Indian descent, who subscribe to the observances of the Catholic Church, or those of mixed blood be brought into the picture, it includes a large number who habitually, and as a matter of course, take part in ceremonies and rites which are either completely pagan or have been adopted into the local ecclesiastical calendar with no more than a veneer of Christianity, which barely covers and does not disguise their true character. In remarking on such observances, no reference is intended to the beliefs and customs of those Indian peoples of Mexico who are as yet but little affected by European civilization, and of whom there is still a considerable number.