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Throughout the Americas, performances deriving from medieval European rituals, ceremonies, and festivities made up a crucial part of the cultural cargo shipped from Europe to the overseas settlements. In 1583, Sir Humphrey Gilbert sailed from Plymouth, England, to Newfoundland, bringing with him "morris dancers, hobby horses, and Maylike Conceits" for the "allurement of the savages" and the "solace of our people." His voyage closely resembled that of twelve Franciscan friars who in 1524 had arrived in what is now Mexico armed with a repertoire of miracle plays, religious processions, and other performances. These two events, although far from unique, helped shape initial encounters between Europeans and indigenous peoples; they also marked the first stages of the process that would lead—by no means smoothly—to a distinctively American culture. Ritual Imports is a groundbreaking cultural history of European performance traditions in the New World, from the sixteenth century to the present. Claire Sponsler examines the role of survivals and adaptations of medieval drama in shaping American culture from colonization through nation building and on to today's multicultural society. The book's subjects include New Mexican matachines dances and Spanish conquest drama, Albany's Pinkster festival and Afro-Dutch religious celebrations, Philadelphia's mummers and the Anglo-Saxon revival, a Brooklyn Italian American saint's play, American and German passion plays, and academic reconstructions of medieval drama. Drawing on theories of cultural appropriation, Ritual Imports makes an important contribution to medieval and American studies as well as to cultural studies and the history of theater.
The discipline of religious studies has historically tended to focus on discrete ritual mistakes occurring in the context of individual performances as outlined in ethnographic or sociological studies; scholars have largely overlooked the extensive discussions of ritual mistakes that exist in the religious literature of indigenous traditions. And yet ritual mistakes (ranging from the simple to the complex) happen all the time, and they continue to carry ritual "weight," even when no one seriously doubts their impact on the efficacy of a ritual. In Ritual Gone Wrong, Kathryn McClymond approaches ritual mistakes as an integral part of ritual life and argues that religious traditions can accommodate mistakes and are often prepared for them. McClymond shows that many traditions even incorporate the regular occurrence of errors into their ritual systems, developing a substantial literature on how rituals can be disrupted, how these disruptions can be addressed, and when disruptions have gone too far. Offering a series of case studies ranging from ancient India to modern day Iraq, and from medieval allegations of child sacrifice to contemporary Olympic ceremonies, McClymond explores the numerous ways in which ritual can go wrong, and demonstrates that the ritual is by nature fluid, supple, and dynamic-simultaneously adapting to socio-cultural conditions and, in some cases, shaping them.
This book showcases six prominent ritual festivals of Ile-Ifẹ̀, Nigeria: namely Ọ̀rànfè᷂̣, Ìtàpá, Òrìṣàlásẹ̀, Ọbaresé, Òrìṣàkirè and Ọwálàrẹ́. It reveals the hidden and enduring beauties of Ifẹ̀ ritual festivals, providing rare information about the region, the acclaimed origin place and spiritual capital of Yoruba people. Through profound analysis of each of the festivals, it affords information that is unusual in both depth and breadth. The text also provides pace for the views of the practitioners of culture-specific literary-ethnographic scholarship. It, however, pushes the critical edges of its engagement with the ritual festivals and represents an important record of enduring cultural legacies with the unusual capacity to inform about Ifẹ̀ rituals in a way that serves the interest of Yoruba cultural studies in general.
Ritual Communication examines how people create and express meaning through verbal and non-verbal ritual. Ritual communication extends beyond collective religious expression. It is an intrinsic part of everyday interactions, ceremonies, theatrical performances, shamanic chants, political demonstrations and rites of passage. Despite being largely formulaic and repetitive, ritual communication is a highly participative and self-oriented process. The ritual is shaped by time, space and the individual body as well as by language ideologies, local aesthetics, contexts of use, and relations among participants. Ritual Communication draws on a wide range of contemporary cultures - from Africa, America, Asia, and the Pacific - to present a rich and diverse study for students and scholars of anthropology, sociology and sociolinguistics.
Robert Koehl has long considered processions to have played an integral role in Aegean Bronze Age societies. Papers concentrate mainly on evidence from Crete, the Cyclades and the Greek mainland, with additional perspectives from abroad, these geographic divisions forming the basic outline of this volume.
According to accepted wisdom, rational practices and ritual action are opposed. Rituals drain wealth from capital investment and draw on a mode of thought different from practical ideas. The studies in this volume contest this view. Comparative, historical, and contemporary, the six ethnographies extend from Macedonia to Kyrgyzstan. Each one illuminates the economic and ritual changes in an area as it emerged from socialism and (re-)entered market society. Cutting against the idea that economy only means markets and that market action exhausts the meaning of economy, the studies show that much of what is critical for a people’s economic life takes place outside markets and hinges on ritual, understood as the negation of the everyday world of economising.
A reassessment of the archaeology of classical Greece, using modern archaeological approaches to provide a richer understanding of Greek society.
‘Ritual Failure’ is a new concept in archaeology adopted from the discipline of anthropology. Resilient religious systems disappearing, strict believers and faithful practitioners not performing their rites, entire societies changing their customs: how does a religious ritual system transform, change or disappear, leaving only traces of its past glory? Do societies change and then their ritual? Or do customs change first, in turn provoking wider cultural shifts in society? Archaeology possesses the tools and methodologies to explore these questions over the long term; from the emergence of a system, to its peak, and then its decay and disappearance, and in relation to wider social and chronological developments. The collected papers in this book introduce the concept of ‘ritual failure’ to archaeology. The analysis explores ways in which ritual may have been instrumental in sustaining cultural continuity during demanding social conditions, or how its functionality might have failed – resulting in discontinuity, change or collapse. The collected papers draw attention to those turbulent social times of change for which ritual practices are a sensitive indicator within the archaeological record. The book reviews archaeological evidence and theoretical approaches, and suggests models which could explain socio-cultural change through ritual failure. The concept of ‘ritual failure’ is also often used to better understand other themes, such as identity and wider social, economic and political transformations, shedding light on the social conditions that forced or introduced change. This book will engage those interested in ritual theory and practices, but will also appeal to those interested in exploring new avenues to understanding cultural change. From transformations in the use of ritual objects to the risks inherent in practicing ritual, from ritual continuity in customs to sudden and profound change, from the Neolithic Near East to Roman Europe and Iron Age Africa, this book explores what happens when ritual fails.
Playing a Part in History examines the ways in which the revival of The York Mystery Plays transformed them for twentieth- and twenty-first-century audiences.