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"[Bockie's] description of Kongo culture is vivid, beautifullyclear, and absolutely authentic, as only a native could make it.... I don't know ofanything of its kind that is both as good, ethnographically, and asreadable." -- Wyatt MacGaffey "Simon Bockie haswritten an engaging, often personal account of the views and behaviors surroundingdeath in his own society, the Kongo of Lower Zaire, northern Angola, and theCongo." -- Cahiers d'Etudes africaines ..". excellentbook of Kongo religious life and thought... " --Religion "It is a book that is remarkably well written, bothfor its readability and for its explanatory value.... the book is a superb startingplace for understanding Kongo religion, and will work as an introduction to Africanreligion in general as well." -- International Journal of African HistoricalStudies ..". an excellent introduction for anyone seeking tounderstand Kongo traditional culture and thought." --Oshun Rich in anecdote and case histories, Death and the InvisiblePowers is a personal account of the spiritual life of the Kongo people. It describesthe ancient traditions that nourish a culture whose name symbolizes the heart ofCentral Africa.
First published in 1985. This collection of papers on theoretical and methodological perspectives in the study of African religion is the outcome of a conference which the editors were asked to convene on behalf of the African Studies Centre, Leiden, in December 1979.
A fascinating account of the effects of turbulent history on one of Africa’s most storied kingdoms, Kongo: Power and Majesty presents over 170 works of art from the Kingdom of Kongo (an area that includes present-day Republic of Congo, Democratic Republic of Congo, and Angola). The book covers 400 years of Kongolese culture, from the fifteenth century, when Portuguese, Dutch, and Italian merchants and missionaries brought Christianity to the region, to the nineteenth, when engagement with Europe had turned to colonial incursion and the kingdom dissolved under the pressures of displacement, civil war, and the devastation of the slave trade. The works of art—which range from depictions of European iconography rendered in powerful, indigenous forms to fearsome minkondi, or power figures—serve as an assertion of enduring majesty in the face of upheaval, and richly illustrate the book’s powerful thesis.
Lutete devoted much of his attention to aspects of Kongo ritual and religious belief, including minkisi and the rituals for the installation of chiefs. The original text of what he had to say about chiefship is printed, with translation notes. The work of other informants is also used."--BOOK JACKET.
The Pinkster King and the King of Kongo presents the history of the nation's forgotten Dutch slave community and free Dutch-speaking African Americans from seventeenth-century New Amsterdam to nineteenth-century New York and New Jersey. It also develops a provocative new interpretation of one of America's most intriguing black folkloric traditions, Pinkster. Jeroen Dewulf rejects the usual interpretation of this celebration of a "slave king" as a form of carnival. Instead, he shows that it is a ritual rooted in mutual-aid and slave brotherhood traditions. By placing these traditions in an Atlantic context, Dewulf identifies striking parallels to royal election rituals in slave communities elsewhere in the Americas, and he traces these rituals to the ancient Kingdom of Kongo and the impact of Portuguese culture in West-Central Africa. Dewulf's focus on the social capital of slaves follows the mutual aid to seventeenth-century Manhattan. He suggests a much stronger impact of Manhattan's first slave community on the development of African American identity in New York and New Jersey than hitherto assumed. While the earliest works on slave culture in a North American context concentrated on an assumed process of assimilation according to European standards, later studies pointed out the need to look for indigenous African continuities. The Pinkster King and the King of Kongo suggests the necessity for an increased focus on the substantial contact that many Africans had with European--primarily Portuguese--cultures before they were shipped as slaves to the Americas. The book has already garnered honors as the winner of the Richard O. Collins Award in African Studies, the New Netherland Institute Hendricks Award, and the Clague and Carol Van Slyke Prize.
This two-volume encyclopedia is the first to focus on the material life of slaves. Although many encyclopedias discuss slavery, enslaved blacks, and African American life and culture, none focus on the material world of slaves, such as what they saw; touched; heard; ate, drank, and smoked; wore; worked with and in; used, cultivated, crafted, played, and played with; and slept on. The two-volume World of a Slave: Encyclopedia of the Material Life of Slaves in the United States is a landmark work in this important new field of study. Recognizing that a full understanding of the complexity of American slavery and its legacy requires an understanding of the material culture of slavery, the encyclopedia includes entries on almost every aspect of that material culture, beginning in the 17th century and extending through the Civil War. Readers will find information on animals, documents, economy, education and literacy, food and drink, home, music, personal items, places, religion, rites of passage, slavery, structures, and work. There are also introductory essays on literacy and oral culture and on music and dance.
From its genesis in 1921, Kimbanguism has constituted one of the most fascinating socio-cultural movements of the Kongo region. This interdisciplinary collection covers the socio-cultural dynamics of the Kimbanguist church and its contribution to African studies over the past hundred years. Scholars renowned for their Kongo studies work, such as Wyatt MacGaffey, John M. Janzen, and John K. Thornton, contributed to this collection.
This compelling reference work introduces the religions of Voodoo, a onetime faith of the Mississippi River Valley, and Vodou, a Haitian faith with millions of adherents today. Unlike its fictional depiction in zombie films and popular culture, Voodoo is a full-fledged religion with a pantheon of deities, a priesthood, and communities of believers. Drawing from the expertise of contemporary practitioners, this encyclopedia presents the history, culture, and religion of Haitian Vodou and Mississippi Valley Voodoo. Though based primarily in these two regions, the reference looks at Voodoo across several cultures and delves into related religions, including African Vodu, African Diasporic Religions, and magical practices like hoodoo. Through roughly 150 alphabetical entries, the work describes various aspects of Voodoo in Louisiana and Haiti, covering topics such as important places, traditions, rituals, and items used in ceremonies. Contributions from scholars in the field provide a comprehensive overview of the subject from various perspectives and address the deities and ceremonial acts. The book features an extensive collection of primary sources and a selected, general bibliography of print and electronic resources.
This book provides a sophisticated new interdisciplinary interpretation of the formulation and evolution of African American religion and culture. Theophus Smith argues for the central importance of "conjure"--a magical means of transforming reality--in black spirituality and culture. Smith shows that the Bible, the sacred text of Western civilization, has in fact functioned as a magical formulary for African Americans. Going back to slave religion, and continuing in black folk practice and literature to the present day, the Bible has provided African Americans with ritual prescriptions for prophetically re-envisioning, and thereby transforming, their history and culture. In effect the Bible is a "conjure book" for prescribing cures and curses, and for invoking extraordinary and Divine powers to effect changes in the conditions of human existence--and to bring about justice and freedom. Biblical themes, symbols, and figures like Moses, the Exodus, the Promised Land, and the Suffering Servant, as deployed by African Americans, have crucially formed and reformed not only black culture, but American society as a whole. Smith examines not only the religious and political uses of conjure, but its influence on black aesthetics, in music, drama, folklore, and literature. The concept of conjure, he shows, is at the heart of an indigenous and still vital spirituality, with exciting implications for reformulating the next generation of black studies and black theology. Even more broadly, Smith proposes, "conjuring culture" can function as a new paradigm for understanding Western religious and cultural phenomena generally.