Singing To The Jinas

While Western Jain scholarship has focused on those texts and practices favoring male participation, the Jain community itself relies heavily on lay women's participation for religious education, the performance of key rituals, and the locus of religious knowledge. In this fieldwork-based study, Whitney Kelting attempts to reconcile these women's understanding of Jainism with the religion as presented in the existing scholarship. Jain women, she shows, both accept and rewrite the idealized roles received from religious texts, practices, and social expectation, according to which female religiosity is a symbol of Jain perfection. This volume describes these women's interpretations of their religion, not as folklore or popular religion, but as a theology that recreates Jainism in a form which honors their own participation.

While Western Jain scholarship has focused on those texts and practices favoring male participation, the Jain community itself relies heavily on lay women's participation for religious education, the performance of key rituals, and the locus of religious knowledge. In this fieldwork-based study, Whitney Kelting attempts to reconcile these women's understanding of Jainism with the religion as presented in the existing scholarship. Jain women, she shows, both accept and rewrite the idealized roles received from religious texts, practices, and social expectation, according to which female religiosity is a symbol of Jain perfection. This volume describes these women's interpretations of their religion, not as folklore or popular religion, but as a theology that recreates Jainism in a form which honors their own participation.

This valuable resource explores the important role which the minority traditions play in the religious life of the subcontinent.

Drawing on ethnographic research spanning ten years, Antoinette Elizabeth DeNapoli offers a new perspective on the practice of asceticism in India today. Her work brings to light the little known and often marginalized lives of female Hindu ascetics (sadhus) in the North Indian state of Rajasthan. Examining the everyday religious worlds and practices of the mostly unlettered female sadhus, who come from a number of castes, Real Sadhus Sing to God illustrates that these women experience asceticism in relational and celebratory ways. They construct their lives as paths of singing to God, which, the author suggests, serves as the female way of being an ascetic. Examining the relationship between asceticism (sannyas) and devotion (bhakti) in contemporary contexts, the book brings together two disparate fields of study-yoga/asceticism and bhakti-using the singing of bhajans (devotional songs) as an orienting metaphor. This is the first book-length study to explore the ways in which female sadhus perform and thus create gendered views of asceticism through their singing, storytelling, and sacred text practices, which DeNapoli characterizes as their "rhetoric of renunciation."

Explores the practice of taking ritual vows in South Asia, a lay tradition prevalent in the region’s religions.

The Intimate Other explores the theme of the devotional element in Indic Religions not only in Hinduism in which bhakti has become the dominant form, but also in Budhism, Jainism, Sikhism and Islam. The essays by scholars of international repute, show the strength of this devotion to the divine as a living and powerful source of value, aesthetic imagination, creativity and well-being . They also analyse the sometimes divergent interests of scholar and devotee, problematising devotion and exposing its historical development as complex, contested and 'political'. Of particular interest are the chapters on the Jain and Buddhist traditions where the existence of devotion has often been doubted or denied. Contributors investigate widely raging topics: these include an analysis of bhakti within the Sanskrit epics; a text-historical approach to Valmiki; Kabir's authorship of the poems attributed to him; contemporary attitudes to devotion to the Ganga: devotion within a syncretistic Jain movement, in Theravada Budhism, subcontinental Sufi Islam, young Sikhs in Britain and in the shared musical and poetic traditions of Hindus, Sikhs and Muslims. The volume ends with a sensitive exploration of the devotional love that overpowers death within the Hindus, sikhs and Muslims. The volume ends with a sensitive exploration of the devotional love that overpowers death within the Hindu bhakti context. Together they demonstrate vividly just how passionate love for the intimate other penetrates and inspires so many aspects of the religious culture of South Asia.

The book attends to a historical question — how to account for the high numbers of renouncers (sadhvis) mentioned in medieval and ancient texts — which has been acknowledged and raised, but left unaddressed within Jain studies. It does so through ethnographic data gathered through extensive fieldwork among the sadhvis in Delhi and Jaipur. The volume foregrounds the primacy of ‘choice’ and ‘agency’— upheld by the nuns themselves, who associate asceticism with autonomy, freedom, joy, spiritual well-being, self-worth and peace, and grihastha (household) with loss of independence, fettered existence, degradation, burdensome familial obligations and social responsibilities. It also examines whether it may be apt to term Jain nuns as practitioners of an ‘indigenous mode of feminism’. The book challenges the existing sociological theories of renunciation and tests the feminist concepts of agency and autonomy by investigating the culturally coded roles ascribed to women in Jainism, which are variegated, and examines how a fractured discourse and reality is resolved in the subjectivities and identities of female ascetics. The very legitimacy of the institution of female asceticism, and the way in which the society (samaj) upholds and sustains it, renders female asceticism into a socially approved alternative institution — albeit one that allows Jain nuns to create spaces of relative and autonomy and even prestige for themselves.

Sonic Liturgy: Ritual and Music in Hindu Tradition builds on the foundation of Guy L. Beck's earlier work, Sonic Theology: Hinduism and Sacred Sound, which described the theoretical role of sound in Hindu thought. Sonic Liturgy continues the discussion of sound into the realm of Hindu ritual and musical traditions of worship. Beginning with the chanting of the Sama-Veda alongside the fire sacrifices of the ancient Indo-Aryans and with the classical Gandharva music as outlined in the musicological texts of Bharata and Dattila, Beck establishes a historical foundation for an in-depth understanding of the role of music in the early Puja rituals and Indian theater, in the vernacular poetry of the Bhakti movements, in medieval temple worship of Siva and Vishnu in southern India, and later in the worship of Krishna in the northern Braj region. By surveying a multitude of worship traditions, and drawing upon diverse sources in both Sanskrit and vernacular languages, Beck reveals a continuous template of interwoven ritual and music in Hindu tradition that he terms "sonic liturgy," a structure of religious worship and experience that incorporates sound and music on many levels. In developing the concept and methods for understanding the phenomenon of sonic liturgy, Beck draws from liturgical studies and ritual studies, broadening the dimensions of each, as well as from recent work in the fields of Indian religion and music. As he maps the evolution of sonic liturgy in Hindu culture, Beck shows how, parallel to the development of religious ritual from ancient times to the present, there is a less understood progression of musical form, beginning with Vedic chants of two to three notes to complicated genres of devotional temple music employing ragas with up to a dozen notes. Sonic liturgy in its maturity is manifest as a complex interactive worship experience of the Vaishnava sects, presented here in Beck's final chapters.