Search results for: as-if ritual

Authors: Yi-Jing Lee

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Prior to the development of ritual design tool and framework, this paper establishes a systematic review on the studies related to ritual and ritual design across anthropology, consumer culture, marketing, and design. It is found that following symbolic anthropologists, the ethnographic approach was adapted by consumer culture researchers to study modern rituals and marketers to enhance consumption. In the domain of design, although there are already designers aware of the importance of ritualistic dimension of human interaction, there are little frameworks for conceptualizing and developing rituals. The conceptualized framework and developing tools is proposed and suggestions of applying it is made in the end of the paper.

Keywords: ritual, ritual design, service design, symbolic interaction

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Authors: Karen Armstrong

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Although invisible and fleeting, time is an essential variable in perception. Ritual is proposed as an antithesis to the passage of time, a way of linking our narratives with the past, present and future. This qualitative exploration examines a variety of award winning twentieth-century children’s picture books, specifically regarding the issues of time’s urgency and ritual with respect to children and grandparents. The paper will begin with a consideration of issues of time from the area of psychology, with regard to age, specifically contrasting later age and childhood. Next the value of ritual as represented by the presence of grandparents in children’s books. Specific instances of the contributions of grandparents or older adults with regard to this balancing function between time’s urgency and ritual will be discussed. Recommendations for future research include a consideration of grandparents’ or older characters’ depictions in books for older children.

Keywords: children's picture books, grandparents, ritual, time

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Authors: Li-Jun Zheng

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The use of drums as an accompanying instrument is a common phenomenon in traditional Chinese folk rituals and musical culture. Especially, some folk rituals construct ritual-related sounds and give them ritual-specific symbolic and meaningful systems through the combination and use of multiple percussion instruments. The Yue drum(岳鼓), an asymmetrically shaped thin waist drum, is currently used in Han Chinese Shigong（师公）rituals in Guangxi, China, and is an important ritual instrument in Shigong rituals. This paper examines the use of the Yue drum and other percussion instruments in Han Chinese Shigong rituals in Guangxi, China, and shows the current status of combining instrumental accompaniment forms with human voices in Shigong rituals. Through further analysis of the musical and dance forms of Han Chinese Shigong rituals, this paper shows how Han Chinese Shigong ritual performers construct the ritual field through "sound-human-dance" and further explains the relationship between the existing and fictitious performance fields in the rituals. In addition, this paper demonstrates the relationship between Han Chinese Shigong rituals and the religious beliefs they involve, such as Taoism and Buddhism. And it further explores how performers in Han Chinese Shigong rituals use Yue drums for the dual purpose of "entertaining the gods" and "entertaining the people".

Keywords: sound research, the Han Chinese Shigong ritual, the thin waist drum, folk beliefs, ritual music

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Authors: Aida Lamaj

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Death is an inevitable phenomenon in our life, in the same way, are also the ritual of death accompanied by the dirge and the keening performed by men. Keening is a phenomenon common among all peoples, the instances in which the ritual of death and keening coincide, as a special phenomenon of its, are numerous given the fact that keening is an outcome of an extremely special emotional state. However, even during the ritual of death, every people try to display through words its qualities, a multitude of characteristics preserved and transmitted with fanaticism from one generation to the other. The ritual of death constitutes an important element of our tradition and at the same time a material always interesting to be studied in minute details. In this study, we have tried to limit ourselves to the feminine speech, since keening, in general in Albania has been carried out by women. Differences and similarities among keening on the national scale, from the diachronic and synchronic point of view, can be seen clearly if we compare the Albanian creations in different regions. The similarities and differences within the Albanian culture serve as a typical paradigm to study how the ancient elements of outlook that the Albanians have had on death, history, and the social organization in these regions have been preserved and transmitted and above all, in what way these feelings have been clothed from the linguistic point of view, the typologies of keening and of all of the ritual of death, which clearly shows archaic forms as well as new developments. These data have been gathered not only by conducting various surveys but also by observing closely the linguistic behavior of women in Albania during the ritual of death. The study has encompassed the popular lyric poetry as well as new entries, whereas from the geographic point of view we focus mainly in the Southern regions, although examples from other regions where Albanian speaking people live are also present. The main results of the study show that women use much more than men dialect form, peripheral language elements and descriptive elements during their speech in the ritual of death.

Keywords: feminine speech in Albania, linguistic characteristics of the dirge, ritual of death, the typologies of keening

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Authors: Abdul Rahiman Kannam Kulam

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Reflecting the concepts of the development of the whole child, it is claimed that, purposeful engagement in physical activities or exercise involved ritual dances has the potential to engender in young people, the purpose of the present study was to analyze school children and their personal adjustment based on Ritual dance participation. For the purpose, two thousand and three hundred school children of Kerala were analyzed. AISS manual of A.K.P Sinha and R.P Singh was used to collect the data for adjustments. The adjustment qualities classifies as excellent, good, average, unsatisfactory and very unsatisfactory. The total performance denotes the state of adjustment based on the classifications. Findings of the study were subjected to percentages and ‘t’ ratio. The study enlightened that, the emotional, social and overall adjustments are better than non-athletes. But the study elucidated that, there is no difference in educational adjustment of school athletes and non athletes among school children.

Keywords: ritual dances, emotional adjustment, Poorakkali, Kolkkali, Margamkali

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Authors: Sojung Kim

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This paper explores how the Partition of Korea is absorbed into everyday life through North Korean migrant women’s rituals for traditional holidays in Korea. In national holidays called myungjul, Koreans traditionally visit their paternal ancestor’s hometowns to hold jesa, the rites for the ancestors, at the graves and home. Due to the physical gaps in the kinship networks, marked by the kin left behind in North Korea, North Korean migrants gather among themselves in the neighborhood in South Korea as if they make the myungjul ritual of the family gatherings. This impossibility of the proper practice of the rites insinuates the violence of the Partition refracted into the family relations between those in the South and those in the North. Yet, the myungjul gathering creates a kind of collective hometown, beside one’s genealogical hometown, where they can express lamentation and guilt over not being able to visit their parents and ancestors in their hometowns, which they are traditionally required to do. In this as-if ritual, myungjul is re-created for and by the women and for others in the community. Yet, the texture of this ritual is marked by discontent and dissatisfaction. Attending to fostering discontents that seep into the collective events, this paper aims to seek ways to study the violence that permeated in everyday life in partitioned Korea.

Keywords: as-if ritual, everyday life, kinship, migration

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Authors: Neda Torabi Farsani, Mohammad Mortazavi, Maryam Masaeli

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Nowadays intangible heritage as a creative product plays an important role in promoting tourism. The intangible heritage is transmitted from past generation to the present and future generation and constantly recreated by communities and groups in response to their environment, nature and history. In recent decade, intangible heritage especially Pahlevāni and Zoorkhāneh rituals as creative cultural product attract many tourists to a destination and they well-known as tourist attractions in Iran. The study was conducted in Isfahan city. This research has two major purposes: 1) to introduce Pahlevāni and Zoorkhāneh ritual as tourist attraction and, 2) to investigate the attitude of domestic tourists towards Pahlevāni and Zoorkhāneh ritual in Isfahan city. On the basis of the results of this study, it can be concluded that the domestic tourists are interested in gaining experience and increasing their knowledge in Pahlevāni and Zoorkhāneh ritual.

Keywords: Isfahan, Pahlevāni and Zoorkhāneh ritual, tourist attitude, Iran

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Authors: Rahman Abdullayev

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Rituals took place during the rock art production or in the rock art sites can be found reflection in contemporary culture. But the form of rituals was conducted in association with rock art production still uncertain. The main purpose of this research is to define the form of ritual activities that took place in the rock art sites, by the example of Bronze Age rock art of Gobustan. For ritual activity location of the rocks which were selected for making petroglyphs has important significance. Thus, not all the rocks which were suitable for rock art were used for this purpose. If in Upper Paleolithic, Mesolithic, Neolithic periods Gobustan inhabitants executed petroglyphs on the wall of rock shelters, but in Bronze Age they made it on rocks which are in front of the large, open spaces. A recent study of the location of Bronze Age rock art of Gobustan and involving ethnographic information to the interpretation of drawings allows defining the form of rituals which took place in Gobustan at Bronze Age.

Keywords: Bronze Age, Gobustan, ritual, rock art

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Authors: Yeaeun Jang

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Shamanism, in general, has been steadily reinterpreted as research and art from cult, superstition, mysticism, and historical perspectives. Shamanism has existed throughout the five-thousand-year-old history of Korea, and it still actively is ongoing. It is interesting to observe how this tradition has had a profound impact on its current high-technology society. Many still ask Shamans for pieces of advice rituals for their problems to be solved. Historically, Korean shamanism has a strong connection and many similarities with Mongolian and Eastern Siberian Shamanism. 'God' is 'Nature'. 'Shaman' is a 'Mediator of communication chosen by God' and is a divine being who has entered the mysterious realm by challenging human limitations through harsh training. A shaman in ancient society used to be a leader of a group and entertainer who played various roles; king, counsellor, doctor, singer, dancer, painter, and performer. This artistic research focuses on the Shaman role as an artist with multiple mediums and reconstructing their ancient ritual into multimedia performing art that attempts to deal with traumatic memories in one’s life. This fusion style of contemporary ritual is mainly inspired by ‘Gut(굿)’, Korean Shamanism ritual. This comprehensive art needs several important elements; a shaman, a client, musicians, helpers, and the audience. It is a feast to gather people in a big circle. Nowadays, art has been divided into separate fields and developed, but before, there existed art of Synesthesia, whose boundaries were unclear that were not determined through which medium to express that abstract ideas. Multiple disciplines coexist and harmonise with each other. Studying shamanism ritual as an ancient form of performing art can create a warm, spiritual feast for everyone and remind us about ‘togetherness’.

Keywords: healing, multimedia art, performance art, shamanism, spirituality

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Authors: John Rosswell Cummings III

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This research examines the discourse ancient Maya ritual practice manifest and maintained through language in a contemporary society as led by a daykeeper— a Maya spiritual leader— with the objective of discovering if the Maya Calendar has an influence on worldview. Through an ethnography of communication and discursive analysis framework, this research examines the discourse of and around the Maya calendar through original research. Data collected includes the ceremonial performance of the Tzolkin ritual, a ritual that takes place every 13 days to ceremonially welcome one of the 20 Universal Forces. During the ceremony, participants supplicate, sacrifice, and venerate. This ritual, based off the Tzolkin cycle in the Mayan Calendar, contains strong, culture-binding ideologies. This research performs a close analysis of the 20 energies of the Tzolkin and their glyphs so as to gain a better understanding of current ideologies in Maya communities. Through a linguistic relativity frame of reference, including both the strong and weak versions, the 20 Universal Forces are shown to influence ways of life. This research argues that it is not just the native language, but the discourses native to the community as held through the calendar, influence thought and have the potential to offer an alternate worldview, thus shaping the cultural narrative which in return influences identity of the community. Research of this kind, on calendric systems and linguistic relativity, has the power to make great discoveries about the societies of the world and their worldviews.

Keywords: anthropological linguistics, discourse analysis, cultural studies, sociolinguistics

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Authors: Sylvia Huang

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Contemporary Buddhist music has been emerged at the new forms of large-scale public Buddhist ritual ceremonies that may involve up to 10,000 participants at a time. Since 2007, the Buddha’s Birthday ceremony (Sanskrit, Vesak) by the Buddhist Tzu Chi Foundation has being held at major cities in Taiwan and many affiliated Tzu Chi offices around the world. Analysis of this modern and technologically-dependent ceremony sheds new light on the significance of music in contemporary Buddhist ritual, and also on recently enhanced and increasingly intimate connections between music and Buddhism. Through extensive ethnographic research of ten years (2007-2017), the research explores how the form of contemporary Buddhist music relates to the role of music in participants’ experience of the ritual and the way in which they construct meaning. The theoretical approach draws on both ethnomusicology and Buddhist teachings, Dharma. As soundscape is defined as the entire sonic energy produced by a landscape, the concept of soundscape is utilised to examine the contemporary ritual music in the Tzu Chi Vesak ceremony. The analysis opens new territory in exploring how analysis of Buddhist music can benefit from incorporating Buddhist philosophy within the methodological approach. Main findings are: 1) music becomes a method for Buddhist understanding through a focus in particular on how the ceremonial program is followed by music, and 2) participants engage with each other and entrain with music in the Vesak ceremony. As Buddhist sounding, such as scripture reading, liturgical chanting, and ceremonial music singing, is a sonic epistemological knowing of the conditions in which Buddhism is practiced, experienced, and transmigrated, the research concludes by showing that studies of Buddhist music have the potential to reveal distinctively Buddhist concepts, meaning, and values. Certain principles of Buddhist philosophy are adopted within ethnomusicological analysis to further enhance understandings of the crucial function of music within such a ritual context. Finally, the contemporary Buddhist music performance in the ceremony is possessed as a means of direct access to the spiritual experience in Buddhism.

Keywords: buddhist music, Taiwan, soundscape, Vesak ceremony

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Authors: Godwin Bassey Okon

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The need to streamline viewers’ disposition towards the predominant portrayal of rituals, in most Nigerian home videos, as a way of life in the southern part of Nigeria necessitated this study. The focus however was on ascertaining if such portrayals dovetail within the framework of construction of social reality or misconstruction of social reality. In other words, do the people of the southern part of Nigeria engage in rituals as a means of acquiring wealth or do they merely have proclivity for diabolism, as frequently portrayed in home videos subsumed in their socio-cultural settings? The method of study was survey with the questionnaire as the predominant instrument. The questionnaire was used to elicit responses from Portharcourt city residents on their views and reactions in the light of ritual themes in Nigerian home videos. The choice of Portharcourt was informed by the fact that it is a foremost cosmopolitan city in the south. A Sample size of 400 was drawn from a population of 1,382,392 using Taro Yamane’s formula. Actual respondents were reached using a multi-stage cluster sampling technique. The reliability of the instrument as ascertained through Pearson’s Product Moment Correlation stood at 0.89. Findings however revealed that ritual themes, as used in Nigerian home videos, did not significantly reflect the cultural heritage of the people of southern Nigeria. Findings further showed that their excessive use in Nigerian home videos served only to create frills and thrills in plots. A synthesis of the foregoing, however, revealed that viewers are not favourably disposed towards the excessive use of ritual themes since they inadvertently portray the cultural heritage of the people of the south in the negative. To this end, it was recommended that producers of Nigerian home videos should focus more on themes that serve to construct social reality while projecting favorably the rich cultural heritage of the people. In terms of contribution to knowledge, the findings of this study tend to reinforce the notion of film as a conveyor belt in cognitive constructs.

Keywords: disposition, home videos, ritual, social reality, themes

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Authors: Bernard Eze Orji

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The masquerade, which is the most popular indigenous art form in Africa, is obviously identified by its elaborate, weird, and opulent costumes. The costume is the major essential accouterments in the art of the masquerade. From time past, masquerades have performed and enjoyed the freedom associated with its inscrutability and mystification solely because of its costumes. Noninitiates and women watched masquerades from a distance due to the reverence attached to its costumes and performances. In fact, whether in performance or as an item of art, the masquerade costume was seen as an embodiment of a tradition of liveliness, showiness, secrecy, and sacredness. This liveliness and showiness transformed masked characters who are believed to be possessed by spirits of ancestors and animals that inhabited the costumes. However, with the translocation of masquerade in new festivals such as carnival and state-sponsored cultural days, its costumes have been reduced to a mere item of entertainment and aesthetic values. The sacredness and reverence which hitherto elevated masquerade art to the point of wonderment have given way to an aesthetic appreciation of ingenious and individual creativity deployed in these festivals. This is as a result of the realistic and artistic creations that pervade masquerade costumes and masks in these festivals. It is a common sight to see such masquerades of animal and human genera like a lion, elephant, hippopotamus, and antelope; Agbogho Mmuo, Adamma, and Nchiekwa, respectively. This creative flair has emerged to expunge the ritual narratives associated with masquerades in the past. The study utilized performance analysis and aesthetic theory to establish that the creative ingenuity deployed by fine artists and mask designers who combine traditional artifacts to achieve modern masterpieces for the masquerades of the new festivals have reduced the ritual trappings and hype ascribed to masquerades in indigenous societies.

Keywords: costume and mask designs, entertainment, masquerade, ritual

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Authors: Luisa Villani

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The proposal aims to express concerns about the connection between mind, body, society, and environment in the Flyers’ dance, a very well-known rotatory dance in Mexico, to create meanings and to make the apprehension of the world possible. The interaction among the brain, mind, body, and environment, and the intersubjective relation among them, means the world creates and recreates a social interaction. The purpose of this methodology, based on the embodied cognition theory, which was named “A Performance-Embodied Theory” is to find the principles and patterns that organize the culture and the rules of the apprehension of the environment by Totonac people while the dance is being performed. The analysis started by questioning how anthropologists can interpret how Totonacs transform their unconscious knowledge into conscious knowledge and how the scheme formation of imagination and their collective imagery is understood in the context of public-facing rituals, such as Flyers’ dance. The problem is that most of the time, researchers interpret elements in a separate way and not as a complex ritual dancing whole, which is the original contribution of this study. This theory, which accepts the fact that people are body-mind agents, wants to interpret the dance as a whole, where the different elements are joined to an integral interpretation. To understand incorporation, data was recollected in prolonged periods of fieldwork, with participant observation and linguistic and extralinguistic data analysis. Laban’s notation for the description and analysis of gestures and movements in the space was first used, but it was later transformed and gone beyond this method, which is still a linear and compositional one. Performance in a ritual is the actualization of a potential complex of meanings or cognitive domains among many others in a culture: one potential dimension becomes probable and then real because of the activation of specific meanings in a context. It can only be thought what language permits thinking, and the lexicon that is used depends on the individual culture. Only some parts of this knowledge can be activated at once, and these parts of knowledge are connected. Only in this way, the world can be understood. It can be recognized that as languages geometrize the physical world thanks to the body, also ritual does. In conclusion, the ritual behaves as an embodied grammar or a text in movement, which, depending on the ritual phases and the words and sentences pronounced in the ritual, activates bits of encyclopedic knowledge that people have about the world. Gestures are not given by the performer but emerge from the intentional perception in which gestures are “understood” by the audio-spectator in an inter-corporeal way. The impact of this study regards the possibility not only to disseminate knowledge effectively but also to generate a balance between different parts of the world where knowledge is shared, rather than being received by academic institutions alone. This knowledge can be exchanged, so indigenous communities and academies could be together as part of the activation and the sharing of this knowledge with the world.

Keywords: dance, flyers, performance, embodied, cognition

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Authors: Jocelyn Cohen

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This paper identifies a powerful synchronicity of two traditions of life-story writing in the autobiographies of ritual abuse (RA) survivors, the Christian conversion narrative and the memoir of healing from childhood sexual trauma. Using methodologies from literary studies, history, and psychology, a close reading of three RA memoirs sheds light on a taboo and deeply suspect form of violence. Treatment of RA survivors and the unique role of psychotherapists, in particular, deserve far greater attention from multi-disciplinary scholars. Each story reflects salient characteristics of the Christian conversion narrative, a genre which originated in the US in the early 19th century with the serendipitous confluence of the simultaneous emergence of print culture and the basic structures of evangelicalism during the Second Great Awakening. The impulse of writing is thus to give testimony against the sin they witnessed and endured as young children during ritual violence perpetrated within the church. Importantly, RA is seen as an inherent if obscure aspect of Christian discourse itself, not in opposition to it, and not as an aberration. In RA's memoir, healing comes in part from the Christian narrative praxis of personal redemption, framed as prevailing in a war between good and evil. In other words, storytelling itself affects the healing, much as it does by means of each writer’s 'talking cure,' in the relationship with a psychotherapist who guides her through a repair of the life-story through the excavation of traumatic memories and their integration into the writer’s psyche. Integrating literary techniques into the psychotherapeutic relationship, therapists leverage the deep linguistic structures that clients possess as a resource to aid in their healing.

Keywords: memoir, psychotherapy, religion, trauma

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Authors: Suheyla Saritas

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No matter who we are or where we live, our lives revolve around food, which is much more than a merely sustenance. As a part of the human culture, food carries complex significance and symbolic meanings. Turkish people attribute great value to food and its usage specifically tied to rites of passages of human life. Traditions, especially the ones practiced during rites of passages, such as birth, circumcisions, weddings and funerals, have always been accompanied by food in Turkish culture. Since food celebrates and symbolizes human progress in life in the culture, it also surrounds by aspects of belief, custom, magic, ritual and religion and has always been used in ceremonial context during such rites. Even though that context may be different depending on the religious, economic and social nuances of the various Turkish regions, like wheat, meat and bread, certain kinds of food play key roles during Turkish rites, generally upholding traditions. This paper highlights the sociocultural aspect of food in the rites of passages in the Turkish culture. The importance of this work also is how the ceremonial food represents the identity of Turkish people.

Keywords: food, culture, rites of passages, ritual and identity

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Authors: Jihong Liang, Huiling Feng, Linqing Ma, Tianjiao Qi

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Confucius is the first sage in Chinese culture. Confucianism, the theories represented by Confucius, has long been at the core of Chinese traditional society, as the dominating political ideology of centralized feudal monarchy for more than two thousand years. Confucius Worship Ceremony held in the Confucian Temple in Qufu (Confucius’s birthplace), which is dedicated to commemorate Confucius and other 170 elites in Confucianism with a whole set of formal rites, pertains to “Auspicious Rites”, which worship heaven and earth, humans and ghosts. It was first a medium-scaled ritual activity but then upgraded to the supreme one at national level in the Qing Dynasty. As a national event, it was celebrated by Emperor as well as common intellectuals in traditional China. The Ceremony can be solemn and respectful, with prescribed and complicated procedures, well-prepared utensil and matched offerings operated in rhythm with music and dances. Each participant has his place, and everyone follows the specified rules. This magnificent ritual Ceremony, while embedded with rich culture connotation, actually symbolizes the social acknowledgment for orthodox culture represented by Confucianism. Rites reflected in this Ceremony, is one of the most important features of Chinese culture, serving as the key bond in the identification and continuation of Chinese culture. These rites and ritual ceremonies, as culture memories themselves, are not only treasures of China, but of the whole world. However, while the ancient Chinese Rite has been one of the thorniest and most complicated topics for academics, the more regrettable is that due to their interruption in practice and historical changes, these rites and ritual ceremonies have already become a vague language in today’s academic discourse and strange terms of the past for common people. Luckily, we, today, by virtue of modern digital technology, may be able to reproduce these ritual ceremonies, as most of them can still be found in ancient manuscripts, through which Chinese ancestors tell the beauty and gravity of their dignified rites and more importantly, their spiritual pursuits with vivid language and lively pictures. This research, based on review and interpretation of the ancient literature, intends to construct the ancient ritual ceremonies, with the Confucius Worship Ceremony as a case and by use of digital technology. Using 3D technology, the spatial scenes in the Confucian Temple can be reconstructed by virtual reality; the memorial tablet exhibited in the temple by GIS and different rites in the ceremonies by animation technology. With reference to the lyrics, melodies and lively pictures recorded in ancient scripts, it is also possible to reproduce the live dancing site. Also, image rendering technology can help to show the life experience and accomplishments of Confucius. Finally, lining up all the elements in a multimedia narrative form, a complete digitalized Confucius Worship Ceremony can be reproduced, which will provide an excellent virtual experience that goes beyond time and space by bringing its audience back to that specific historical time. This digital project, once completed, will play an important role in the inheritance and dissemination of cultural heritage.

Keywords: Confucius worship ceremony, multimedia narrative form, GIS, visual representation

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Authors: Samantha Huff

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This research seeks to examine the relationship between occultism and the traditional religion of Christianity. The focus of this particular project is to deconstruct occultism and occult religion: how it develops, where it is applied, how and when it is applied. The next step is to make connections between the structure of occultism and the structure of Christianity. Do Christianity and the Occult appear, textually, the same way? What does that mean culturally? This project seeks to examine the historical similarities of occultism and Christianity practices and tradition, and how, as a whole, Christianity appropriates and colonializes occultism through examination into the Christian Bible and popular occult texts: The Book of the Law by Aleister Crowley and The Secret Doctrine: The Synthesis of Science, Religion, and Philosophy by Helena Petrovna Blavatsky. Through examining occultism and Christianity and applying it to popular cultural theories (Ritual Space by Nick Couldry, Muted Group Theory by Shirley Ardener, and Mythologies by Roland Barethes), it is entirely possible to see how Christianity appropriates occultism and uses their stronghold on society as a means to colonialize occult traditions and practices.

Keywords: appropriation, Christianity, colonialism, cultural theory, muted group theory, mythologies, occultism, ritual space

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Authors: Zhang Bian, Zhao Jijun

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The urban layout of Xi’an city (the capital Chang’an in the Tang dynasty) was shaped by feudal etiquette, but this dominant factor was replaced by modern city planning during the period of the Republic of China. This makes Xi’an a representative case to explore the transformation process of Chinese cities in the early 20^th century. By analyzing the contrast and connection between the historical texts of city planning and the realistic construction activities recorded by the maps and images, this paper reviews the transformation process of the urban space of Xi’an in the early 20^th century and divides it into four phases according to important events that significantly impacted planning and construction activities. Based on this, the entire transformation of Xi’an’s city planning and practices can be characterized by three aspects: 1) the dominant force of the city plan and construction changed with the establishment of modern city administrations; 2) the layout of the city was continuously broadened to meet the demand of modern economy and city life; and, 3) the ritual space was transformed into practical space for commercial and recreational activities.

Keywords: city space, the early 20th century, transformation, Xi’an city

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Authors: S. Ishak, M. G. Nasuruddin

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Traditional Malay performances are carried out for both entertainment and curing purposes. In curing rituals, the men and women serving as shamans, communicates with the spirits and beings from the nether world to facilitate the curing process. The dependency on engaging with these other-worldly beings however, have raised religious issues of being syirik, namely practicing in rituals which are religiously forbidden. This study aims to observe how ritual leaders attempt to negotiate the fine balance between what has been religiously forbidden and the psychological and sociological needs of the patient. Two curing rituals, the main peteri and the malibobou were chosen to exemplify the communication between the physical and spiritual realities. In both rituals, the healers engaged in procedures of curing as they attempted to diagnose sicknesses and proffer cures with the help of the spirits. The main peteri was conducted by a male shaman, the tuk teri whereas the malibobou was conducted by a female ritual specialist, the bobohizan. Main peteri and the malibobou both ended with ritually thanking and sending off the spirits back to their nether, invisible domains. These curing rituals heal not only the sick individual, but by extension, the village community. Therefore, there is a need to reconcile these rituals with religious tenets, beliefs and sociological-political-cultural dimensions.

Keywords: traditional healing, trance, spirits, main peteri, bobohizan

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Authors: Sana Iqbal

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The female voice in Sufi poetry has been studied as a symbol of humility and devotion. Throughout the centuries, the Sufi shrines have also sheltered women and have served as a source of emotional strength in times of difficulty. Although women have been central to Sufi Islam, female-led rituals and performances (of veneration) are rarely studied as acts of empowerment and symbols of healing. This is especially true for rituals performed in informal spaces, which require going beyond the shrine practices. The rituals and meanings associated with Khizr Khwaja (or Sindhi Hindu god Jhelelal) among women in Punjab can serve as a useful case study to unpack some of these meanings. The paper aims to shed light on female-led rituals among women from Punjab associated with the folkloric traditions associated with Khizar Khwaja, Zinda Pir, Jhulelal or river god in the South Asian region to protect mariners from possible risks (since trade was primarily dependent on water channels) or for inducing timely rain date back to the 10th century in Sindh. However, these meanings and associations have evolved and the paper thus aims to establish a relationship between this figure and the women in Punjab by analysing the findings from an ethnographic study. It traces the historical meanings and significance attached to the divine figure and the wells (informal spaces) associated with him since the rituals performed by women is now infused solely with seeking fertility or to be blessed with a successful pregnancy, as opposed to him being celebrated for other reasons in older times. These associations beg the question of what women gain out of these rituals and making offerings to the mysterious figure of Khizr. Anecdotal evidence in the form of interviews conducted in Bhakar and Talwandi (Punjab) during the summer of 2015 helped to explore the stories related to this legend while also allowing us to witness some of the female-led ritual practices. It can be said that the symbols adopted in the ritual practices invoke liminality for women, which is a blend of opposites. The paper argues that this liminality/journey has been used as a vehicle to transcend all worldly structures of power and it symbolically emphasises the richness of feminine love/devotion and grants healing to female devotees.

Keywords: transgression, gender, liminality, ritual

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Authors: Yogitha Shetty

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Tulunadu, a Tulu-speaking ethno-linguistic minority region in the west coast of India is abundant with oral narratives and associated rituals very unique to this region. One such major worship tradition prevalent here is the mass possession cult of women called Siri Jatre. Deriving its referential script from the Siri epic or pāḍdana, Siri rituals are performed annually in many places of Tulunadu. During these rituals thousands of afflicted women gather at the temple premises and get possessed by the pantheon of seven Siri spirits. While mapping the existing corpus of literature on Siri Jatre – analyzing it as a mode of spirit possession, its psycho-therapeutic significance, its emancipatory potential, etc – this paper offers a paradigm shift by perceiving the entire Siri ritual as a death rite offered to Siri’s grandfather Berma Alva. It draws its arguments from the fieldworks conducted recently in some Siri shrines, interviews conducted among adept Siri women and by analyzing the death rites performed among Bunt caste of the region, and locating it within the historically matrilineal fabric. Thereby, it problematizes the existing analytical frames and raises the question of – if annual Siri ceremonies are a means to bemoan the end of a matrilineal family of Siri? It would delve on the gender configuration as manifested in the Siri cult, having its base in the Tuluva society’s matrilineage, and thereby add to the prevalent ethnographic investigative approaches.

Keywords: death rite, matrilineage, possession, women

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Authors: Vladimir A. Rozov

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Comparative studies of religion and ritual could contribute better understanding of human culture universalities. Belief in supernatural beings seems to be a common feature of the religion. A significant part of the Islamic concepts that concern supernatural beings is based on a tradition based on the Hadiths. They reflect, among other things, his ideas about a proper way to interact with supernatural beings. These ideas to a large extent follow from the pre-Islamic religious experience of the Arabs and had been reflected in a number of ritual actions. Some of those beliefs concern a particular function of clothing. For example, it is known that Muhammad was wrapped in clothes during the revelation of the Quran. The same thing was performed by pre-Islamic soothsayers (kāhin) and by rival opponents of Muhammad during their trances. Muhammad also turned the clothes inside out during religious rituals (prayer for rain). Besides these specific ways of clothing which prove the external similarity of Muhammad with the soothsayers and other people who claimed the connection with supernatural forces, the pre-Islamic soothsayers had another characteristic feature which is physical flaws. In this regard, it is worth to note Muhammad's so-called "Seal the Prophecy" (h̠ ātam an- nubūwwa) -protrusion or outgrowth on his back. Another interesting feature of Muhammad's behavior was his attitude to eating onion and garlic. In particular, the Prophet didn`t eat them and forbade people who had tasted these vegetables to enter mosques, until the smell ceases to be felt. The reason for this ban on eating onion and garlic is caused by a belief that the smell of these products prevents communication with otherworldly forces. The materials of the Hadith also suggest that Muhammad shared faith in the apotropical properties of water. Both of these ideas have parallels in other cultures of the world. Muhammad's actions supposed to provide an interaction with the supernatural beings are not accidental. They have parallels in the culture of pre-Islamic Arabia as well as in many past and present world cultures. The latter fact can be explained by the similarity of the universal human beliefs in supernatural beings and how they should be interacted with. Later a number of similar ideas shared by the Prophet Muhammad was legitimized by the Islamic tradition and formed the basis of popular Islamic rituals. Thus, these parallels emphasize the commonality of human notions of supernatural beings and also demonstrate the significance of the pre-Islamic cultural context in analyzing the genesis of Islamic religious beliefs.

Keywords: hadith, Prophet Muhammad, ritual, supernatural beings

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Authors: Rita Fofai

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The aim of the study is to help peacebuilding by analyzing the symbolical level of fights in the war. Despite the sufferings, war heroism still represents such a noble value in war narratives (especially in literature and films, whether it is high- or popular culture) which can make warfare attractive for every age-group. The questions of the study will revolve around the events when heroism is not a necessary and unselfish act for a greater good, but when the primary aim is to express strength in order to build self-mythology. Since war is a scene where the mythological level can meet reality, and even modern narratives use the elements of rituals and sacral references in even secular contexts, understanding the connection between rites and modern battles will ground this study, and the analysis will follow the logic of the violent rites. From this aspect, war is not merely the fight for different countries and ideas, but the fight of mankind with superhuman and natural or supernatural phenomena, as well. In this context, enemy symbolizes the threat of the world which is unpredictable for mankind, and the fight becomes a ritual combat; therefore the winner’s symbolic reward is to redefine himself or herself not only in the human environment but in the context of the whole world. The analysis of the study reveals that this kind of violence does not represents real heroism and rarely results in recruitment, on the contrary, conserves fear and the feeling of weakness, which is the root cause of this kind of act. The result of this study is a way to reshape the attitude toward so-called heroic war violence which is often a part of war narratives even nowadays. Since stepping out of the war tradition is mainly a cultural question, redefining the connection between society and narratives which has an effect on mentality and emotions, giving a clear guide to making difference between heroism and useless violence is very important in peacebuilding.

Keywords: war, ritual, heroism, violence, narratives, culture

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Authors: Ainolnaim Azizol, Valerie Ross

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Music is as old as mankind and rituals using music such as Kavadi have been associated with social, cultural, and spiritual practices in many traditional and modern societies. Recent literature has provided scientific evidence that music affects psychological and physical changes through stimulation of brainwave. Despite such advances, the scientific study of the sonic qualities peculiar to traditional instruments and how it impacts on ritualistic activities is still lacking. This study addresses one such phenomenon. Devotees in Kavadi rituals are known to be in a state of trance state and do not experience pain nor suffer injury despite the hundreds of needles pierced through their skins. Although scientists have sought to understand how this is possible, lesser is known about the music that is used to prepare devotees to enter into the trance state. This study fills this gap of knowledge by providing scientific evidence through the identification and mapping of the sonic spectrum or sound fingerprint of the instruments and the repertoire used in these ritualistic forms in their ethnographic environment and in audio-controlled situations. The objectives are to identify and categorize the different types of traditional music used in Kavadi rituals; to record, transcribe and digitally score the musical repertoire used in the oral tradition of Kavadi rituals; to map the sonic spectrum of ritual music using spectromography and advanced music analytical software a mixed methodology will be used. This comprises ethnographic field studies using interviews, participant observation, audio-video recordings and audio-methodology using spectromography and advanced audio-technology for sonic mapping and the transcription of audio recordings into digital scores.

Keywords: sonic, traditional, ritual, Kavadi, music

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Authors: Sara Ramos Contioso

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The premiere of Anton Bruckner's Requiem in Dm, in September 1849, represents a turning point in the composer's creative evolution. This Mass of the Dead, which was dedicated to the memory of his esteemed friend and mentor Franz Sailer, establishes the beginning of a new creative aesthetic in the composer´s production and links its liturgical development, which is contextualized in the monastery of St. Florian, to the use of a range of musicals possibilities that are projected by Bruckner on an orchestral texture with choir and organ. Set on a strict tridentine ritual model, this requiem exemplifies the religious aesthetics of a composer that is committed to the Catholic faith and that also links to its structure the reinterpretation of a religious model that, despite being romantic, shows a strong influence derived from the baroque or the Viennese Classicism language. Consequently, the study responds to the need to show the survival of the Requiem Mass within the romantic context of Vienna. Therefore, it draws on a detailed analysis of the score and the creative context of the composer with the intention of linking the work to the tradition of the genre and also specifying the stylistic particularities of its musical model within a variability of possibilities such as the contrasting precedents of Mozart, Haydn, Cherubini or Berlioz´s requiems. Tradition or modernity, liturgy or concert hall are aesthetic references that will condition the development of the Requiem Mass in the middle of the nineteenth century. In this context, this paper tries to recover Bruckner's Requiem in Dm as a musical model of the romantic ritual of deceased and as a stylistic reference of a creative composition that will condition the development of later liturgical works such as Liszt or DeLange (1868) ones.

Keywords: liturgy, religious symbolism, requiem, romanticism

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Authors: Kleopatra Chatzigiosi

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The paper delves into the spatial and mythological examination of the choral chant of Dithyramb in the 7th BC, its connections to Dionysus, and its role in the origin of drama, exploring harmonious and symbolic aspects of early Greek culture. The primary aim is to analyze the development of Dithyramb in relation to harmonic systems and early musical scales, linking them to circular time and celestial movements. Additionally, the study seeks to unveil the mythological ties of Dithyramb with ancient rituals worshipping Mother Earth Cybele. The methodology involves researching etymology and mythology related to Dithyramb based on Pindar's works and proposing a harmonious design for the performance space of Dithyramb through harmonic spirals inspired by ancient practices. Ιt is also included a comparative study with similar choral traditions from other ancient cultures, providing a broader context for the findings of the work. The research uncovers the symbolic significance of Dithyramb as a dramatized representation of harmonic phenomena, leading to human deification within a context of Sacred Architecture, highlighting the intricate connections between music, rituals, and divine worship in ancient Greek culture. The study enriches understanding of the harmonic and symbolic underpinnings of ancient Greek choral traditions, shedding light on the complex interplay between music, mythology, and ritual practices in the development of early theatrical performances. Data was collected through an in-depth analysis of ancient texts, specifically Pindar's Dithyrambs, to trace the etymology and mythological origins of Dithyramb and its associated symbolism. The analysis involved scrutinizing ancient sources to draw connections between Dithyramb, harmonic systems, celestial movements, and mythological narratives, culminating in a comprehensive exploration of the cultural and symbolic significance of this choral tradition. The study addresses how the choral chant of Dithyramb evolved harmoniously within the ancient Greek cultural framework, its connections to celestial phenomena and ritual practices, and the symbolic implications of its mythological associations within a sacred architectural context. The research illuminates the profound cultural, symbolic, and harmonic dimensions of the choral chant of Dithyramb, offering valuable insights into the intersections between music, mythology, and ritual in ancient Greece, enriching scholarly understanding of early theatrical traditions.

Keywords: circular choral chant of dithyramb, “exarchon”( leader), great “eniautos” (year), harmony labyrinth

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Authors: Mia Bahar, Özlem Bozkurt

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Obsessive-compulsive disorder (OCD) is a typical, persistent, and long-lasting mental health condition in which a person experiences uncontrollable, recurrent thoughts (or "obsessions") and/or activities (or "compulsions") that they feel compelled to engage in repeatedly. Obsessive-compulsive disorder is both underdiagnosed and undertreated. It frequently manifests in a variety of medical settings and is persistent, expensive, and burdensome. Obsessive-compulsive neurosis was long believed to be a condition that offered valuable insight into the inner workings of the unconscious mind. Obsessive-compulsive disorder is now recognized as a prime example of a neuropsychiatric condition susceptible to particular pharmacotherapeutic and psychotherapy therapies and mediated by pathology in particular neural circuits. An obsessive-compulsive disorder which is called OCD, usually has two components, one cognitive and the other behavioral, although either can occur alone. Obsessions are often repetitive and intrusive thoughts that invade consciousness. These obsessions are incredibly hard to control or dismiss. People who have OCD often engage in rituals to reduce anxiety associated with intrusive thoughts. Once the ritual is formed, the person may feel extreme relief and be free from anxiety until the thoughts of contamination intrude once again. These thoughts are strengthened through a manifestation of negative reinforcement because they allow the person to avoid anxiety and obscurity. These thoughts are described as autogenous, meaning they most likely come from nowhere. These unwelcome thoughts are related to actions which we can describe as Thought Action Fusion. The thought becomes equated with an action, such as if they refuse to perform the ritual, something bad might happen, and so people perform the ritual to escape the intrusive thought. In almost all cases of OCD, the person's life gets extremely disturbed by compulsions and obsessions. Studies show OCD is an estimated 1.1% prevalence, making it a challenging issue with high co-morbidities with other issues like depressive episodes, panic disorders, and specific phobias. The first to reveal brain anomalies in OCD were numerous CT investigations, although the results were inconsistent. A few studies have focused on the orbitofrontal cortex (OFC), anterior cingulate gyrus (AC), and thalamus, structures also implicated in the pathophysiology of OCD by functional neuroimaging studies, but few have found consistent results. However, some studies have found abnormalities in the basal ganglion. There have also been some discussions that OCD might be genetic. OCD has been linked to families in studies of family aggregation, and findings from twin studies show that this relationship is somewhat influenced by genetic variables. Some Research has shown that OCD is a heritable, polygenic condition that can result from de novo harmful mutations as well as common and unusual variants. Numerous studies have also presented solid evidence in favor of a significant additive genetic component to OCD risk, with distinct OCD symptom dimensions showing both common and individual genetic risks.

Keywords: compulsions, obsessions, neuropsychiatric, genetic

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Authors: Srisuporn Piyaratanawong, Suchai Assawapantanakul

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This study aims to reflect changes in beliefs and rituals among the Urak Lawoi sea gypsies on the Bulon archipelago of Satun Province that are related to changes of society according to each dimension of time. The historical study was conducted using an oral history approach. The study found that the traditional way of life as itinerants who moved seasonally resulted in their dependence on nature and beliefs in supernatural power, and mysterious powers and superstitions in the belief of ghosts, ancestors, guardian spirits, large banyan trees, life and living, treatment of diseases, king of nagas, and other beliefs. They displayed their respect to supernatural powers through rituals by worshiping, making offerings to spirits and performing Rongeng dance for spirits in return for fulfilling their vows. After World War II (1945), the Urak Lawoi sea gypsies on Bulon archipelago changed their itinerant way of life to permanent settlements. However, their beliefs in supernatural powers and ritual performances remained in existence. Until 1987, when tourism began to spread to the archipelago, some of them gradually turned to make a living with tourism. Moreover, during the last 20 years (from around 1994), Islam has spread among the people. With this social context, the traditional beliefs in supernatural powers have changed to beliefs according to the religion and the way of life that has changed. Thus, when the traditional beliefs and rituals can no longer fulfil the new way of life, they slowly disappear, such as the floating the boat ceremony that has been replaced with new beliefs and rituals according to Islam. Nevertheless, some beliefs and rituals still exist, such as beliefs about treatment of diseases and Rongeng dance for spirits in return for vow fulfilling. In conclusion, the traditional beliefs and rituals of the Urak Lawoi sea gypsies on the Bulon archipelago cannot fulfil the new way of life, and have, thus, brought about changes in beliefs and rituals that are congruent with the current society.

Keywords: belief, ritual, Urak Lawoi, sea gypsy, Bulon Archipelago

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Authors: Sarah Hebbouch

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Two decades ago, research on diasporic women’s participation within Sufi circles would have been inconceivable, not only because of a general lack of recognition of their contribution to Sufism but due to the intimacy of the rituals, often taking place in confined spaces, like zawiyas (Sufi lodges). Recent scholarly attention to female spiritual experience owes to a digital awareness and interest in exploring diasporic community reproduction of those experiences. Within a context where female disciples of a Sufi convent undergo a physical separation from the saint’s sanctuary -because of immigration from the homeland to the host country- technology becomes a social hub accounting for Sufis’ ritual commitment and preservation of cultural capital in the diaspora. This paper elucidates how female Sufi immigrants affiliating with the Boudchichi brotherhood (Morocco-based) maintain ‘a relational network’ and strong social online relationships with their female compatriots in Morocco through the use of online platforms. Sufi communities living in the diaspora find the internet an open interactive space that serves to kindle their distance of spiritual participation and corroborate their transnational belonging. The current paper explores the implications of the use of a digital baseline named “Tariqa Info,” the convent’s digital online platform, and how it mediates everyday ritual performance, the promotion of digital connection, and the communication of ideas and discourses. Such a platform serves the bolstering emotional bonds for transnational female disciples and inclusion within online communities in the homeland. Assisted by an ethnographic lens, this paper discusses the research findings of participatory field observation of Sufi women’s online communities, informed by the need to trace the many ostensible aspects of interconnectedness and divergences.

Keywords: digital connection, Sufi convent, social online relationship, transnational female disciples

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