The Interrelatedness of Music, Religion and Ritual in African Performance Practice. Mellen Press. Barber, K. 1987. “Popular Arts in Africa.” African Studies Review 30(3):1-78. Barrett, D. B.. 1971. “Introduction: Pioneers and Hymnodists ...
Author: Gregory F. Barz
Performing Religion considers issues related to Tanzanian kwayas [KiSwahili, “choirs”], musical communities most often affiliated with Christian churches, and the music they make, known as nyimbo za kwaya [choir songs] or muziki wa kwaya [choir music]. The analytical approach adopted in this text focusing on the communities of kwaya is one frequently used in the fields of ethnomusicology, religious studies, culture studies, and philosophy for understanding diversified social processes-consciousness. By invoking consciousness an attempt is made to represent the ways seemingly disparate traditions coexist, thrive, and continue within contemporary kwaya performance. An East African kwaya is a community that gathers several times each week to define its spirituality musically. Members of kwayas come together to sing, to pray, to support individual members in times of need, and to both learn and pass along new and inherited faith traditions. Kwayas negotiate between multiple musical traditions or just as often they reject an inherited musical system while others may continue to engage musical repertoires from both Europe and Africa. Contemporary kwayas comfortably coexist in the urban musical soundscape of coastal Dar es Salaam along with jazz dance bands, taarab ensembles, ngoma performance groups, Hindi film music, rap, reggae, and the constant influx of recorded American and European popular musics. This ethnography calls into question terms frequently used to draw tight boundaries around the study of the arts in African expressive religious cultures. Such divisions of the arts present well-defended boundaries and borders that are not sufficient for understanding the change, adaptation, preservation, and integration that occur within a Tanzanian kwaya. Boundaries break down within the everyday performance of East African kwayas, such as Kwaya ya Upendo [“The Love Choir”] in Dar es Salaam, as repertoires, traditions, histories, and cultures interact within a performance of social identity.
61. Lance Gharavi, 'Introduction' to Religion, Theatre, and Performance: Acts of Faith (London: Routledge, 2012). 62. Lukas Kaelin, 'Habermas, the Jesuits and Religion: Notes on a Discussion about the Role of Religion in Society', ...
Author: J. Edelman
Religious life and public life are both passionately performed, but often understood to exclude one another. This book's array of voices investigates the publics hailed by religious performances and the challenges they offer to theories of the democratic public sphere.
Presenting the possible actions one might take in life, theatre can be an aid to discerning how to perform one's sacred reality. Thus, performing religion is not a matter of enacting a sacred ritual alone, but living out the ethical ...
Author: Cia Sautter
Publisher: Taylor & Francis
Category: Literary Criticism
The performing arts are uniquely capable of translating a vision of an ideal or sacred reality into lived practice, allowing an audience to confront deeply held values and beliefs as they observe a performance. However, there is often a reluctance to approach distinctly religious topics from a performance studies perspective. This book addresses this issue by exploring how religious values are acted out and reflected on in classic Western theatre, with a particular emphasis on the plays put on during the Globe Theatre‘s yearlong season of 'Shakespeare and the Bible'. Looking at plays such as Much Ado About Nothing, Dr. Faustus and Macbeth, each chapter includes ethnographic overviews of the performance of these plays as well as historical and theological perspectives on the issues they address. The author also utilizes scholarship from other academics, such as Paul Tillich and Martin Buber, in examining the relationship between art and culture. This helps readers of this book to look at religion in culture, and raise questions and explore ideas about how people appraise their religious values through an encounter with a performance. The Performance of Religion: Seeing the sacred in the theatre treads new ground in bringing performance and religious studies scholarship into direct conversation with one another. As such, it is essential reading for any academic with an interest in theology, religion and ethics and their expression in culture through the performing arts.
PERFORMING. RELIGION. IN. EARLY. MODERN. BALLADS. I turn now to a network of performance events that may in some ways seem worlds apart from that of the early modern sermon, and yet it is a milieu whose theatrical strategies are ...
Author: Matthew J. Smith
Publisher: University of Notre Dame Pess
In Performance and Religion in Early Modern England, Matthew J. Smith seeks to expand our view of “the theatrical.” By revealing the creative and phenomenal ways that performances reshaped religious material in early modern England, he offers a more inclusive and integrative view of performance culture. Smith argues that early modern theatrical and religious practices are better understood through a comparative study of multiple performance types: not only commercial plays but also ballads, jigs, sermons, pageants, ceremonies, and festivals. Our definition of performance culture is augmented by the ways these events looked, sounded, felt, and even tasted to their audiences. This expanded view illustrates how the post-Reformation period utilized new capabilities brought about by religious change and continuity alike. Smith posits that theatrical practice at this time was acutely aware of its power not just to imitate but to work performatively, and to create spaces where audiences could both imaginatively comprehend and immediately enact their social, festive, ethical, and religious overtures. Each chapter in the book builds on the previous ones to form a cumulative overview of early modern performance culture. This book is unique in bringing this variety of performance types, their archives, venues, and audiences together at the crossroads of religion and theater in early modern England. Scholars, graduate and undergraduate students, and those generally interested in the Renaissance will enjoy this book.
Indeed, as Jonas Barish has so admirably shown in his seminal work on the subject, religion or religious authority was often behind, ... Yet despite these affinities and “periods of closeness” between theatre/performance, religion, ...
Author: Lance Gharavi
Category: Performing Arts
The intersections of religion, politics, and performance form the loci of many of the most serious issues facing the world today, sites where some of the world’s most pressing and momentous events are contested and played out. That this circumstance warrants continued, thoughtful, and imaginative engagement from those within the fields of theatre and performance is one of the guiding principles of this volume. This collection features a diverse set of perspectives, written by some of the top scholars in the relevant fields, on the many modern intersections of religion with theatre and performance. Contributors argue that religion can no longer be conceived of as a cultural phenomenon that is safely sequestered in the "private sphere." It is instead an explicitly public force that stimulates and complicates public actions, and thus a crucial component of much performance. From mystic theologies of acting to the neuroscience of spirituality in rituals to the performance of secularism, these essays address a broad variety of religious traditions, sharing a common conception of religion as a crucial object of discourse—one that is formed by, and significantly formative of, performance.
Similarly kutho is an everyday concept, frequently heard in local parlance, used as the explanation for performing religious duties, for giving, for observing the precepts. Ask a Burman why he gives to a monk, why he performs any ...
Zaratûst enquired this , also , of Allharmazd , that is : “ As to them who keep a man back from performing Khvêtudâd ... into a worldly place where he travelled , he spoke this , that is : “ Extol the religion ! and you should perform ...
Now , a Hindu will commit all these crimes , believing that in committing them he is not only not offending against religion , but even performing religious acts . It was as a religious act that the Thug murdered his victims , that the ...
Author: USA House of RepresentativesPublish On: 1873
The duties of the chaplain consist in performing religious service on Sundays and feast - days , in making pastoral visits , and in imparting religious instruction . Religious instruction , given with intelligence , is considered of ...