Voices Of The Ritual

"Voices of the Ritual analyzes the revival of and manifestation of rituals at female saint shrines in the Holy Land. The book's central claim is that, in the Middle East, a turbulent, often violent political context, states tend to have no clear physical borders, and lands are constantly at stake. In this context, deprived ethno-religious groups with no voice in the political, cultural, media, and legal arenas look for alternative venues to voice their entitlements. Through the book I argue that in Israel/Palestine, religious minorities (Jewish, Christian, Muslim, Druze, and others) employ rituals in various sacred places, especially female saints' shrines, to claim their belonging to and appropriation of territory. At the heart of this book is the question: What does this female ritualistic revival mean-politically, culturally, and spatially? To answer this question, I base my analysis on a long ethnographic study (2003-2017) that analyzes the rise of female sacred shrines, focusing on four dimensions of the ritual: the body in motion, female materiality, place, and the rituals encrypted in the Israel/Palestine landscape. The book sets out to examine the popularity of body rituals in sacred places, and the female themes that stem from these rituals. I show that, in the practices at these shrines, mostly canonical, the idea of the "body in motion" is central, with rituals imitating birth and the cycle of life using a set of body gestures. These mimetic rituals, performed by men and women, are intimate forces that extend between the female saint and the worshippers. Female materiality strengthens intimacy and creates a bridge between the experience and the material. Minority groups in these venues, Jews and Christians, use these sacred shrines, their female contents and intimate bodily ritualistic experience, to stake a claim to and appropriate the land. The intimacy between saint and worshipper (females and males each in their own modes) created with the body that imitates the cycle of life, and the female material scattered around, are keys to intimate claims to the land, making the land familiar to worshippers. Rituals encrypt female themes into the landscape, a dynamic that is taking place in a zone that has for decades been dominated by violent, masculine-disseminated war and conflict"--

Examines particular rituals (social and religious) as a special kind of cultural performance or interaction in a wide variety of traditions and locations.

The female voice plays a more central role in Sufi ritual, especially in the singing of devotional poetry, than in almost any other area of Muslim culture. Female singers perform sufiana-kalam, or mystical poetry, at Sufi shrines and in concerts, folk festivals, and domestic life, while male singers assume the female voice when singing the myths of heroines in qawwali and sufiana-kalam. Yet, despite the centrality of the female voice in Sufi practice throughout South Asia and the Middle East, it has received little scholarly attention and is largely unknown in the West. This book presents the first in-depth study of the female voice in Sufi practice in the subcontinent of Pakistan and India. Shemeem Burney Abbas investigates the rituals at the Sufi shrines and looks at women's participation in them, as well as male performers' use of the female voice. The strengths of the book are her use of interviews with both prominent and grassroots female and male musicians and her transliteration of audio- and videotaped performances. Through them, she draws vital connections between oral culture and the written Sufi poetry that the musicians sing for their audiences. This research clarifies why the female voice is so important in Sufi practice and underscores the many contributions of women to Sufism and its rituals.

Hearing Voices takes a fresh look at sound in the poetry and prose of colonial Latin American poet and nun Sor Juana Inés de la Cruz (1648/51–95). A voracious autodidact, Sor Juana engaged with early modern music culture in a way that resonates deeply in her writing. Despite the privileging of harmony within Sor Juana’s work, however, links between the poet’s musical inheritance and subjects such as acoustics, cognition, writing, and visual art have remained unexplored. These lacunae have marginalized nonmusical aurality and contributed to the persistence of both ocularcentrism and a corresponding visual dominance in scholarship on Sor Juana—and indeed in early modern cultural production in general. As in many areas of her work, Sor Juana’s engagement with acoustical themes restructures gendered discourses and transposes them to a feminine key. Hearing Voices focuses on these aural conceits in highlighting the importance of sound and—in most cases—its relationship with gender in Sor Juana’s work and early modern culture. Sarah Finley explores attitudes toward women’s voices and music making; intersections of music, rhetoric, and painting; aurality in Baroque visual art; sound and ritual; and the connections between optics and acoustics. Finley demonstrates how Sor Juana’s striking aurality challenges ocularcentric interpretations and problematizes paradigms that pin vision to logos, writing, and other empirical models that traditionally favor men’s voices. Sound becomes a vehicle for women’s agency and responds to anxiety about the female voice, particularly in early modern convent culture.

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.

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.

This study focuses on various genres of ritual speech among the Mewahang Rai, all of which make use of a distinct ritual language. The main objective is to situate the oral ritual texts in their ethnographic context. Combining a textual with a cultural approach, the author discusses the indigenous concept of tradition, the rhetorical and poetic features of ritual speech genres, and the discursive universe constructed through the texts. On the theoretical level, the book contributes to recent debates about ritualization and performance, and to discussions in linguistic anthropology concerning the notions of formality, indexicality, entextualization and contextualization. Martin Gaenszle is affiliated with the South Asia Institute, Heidelberg University, and teaches in the Department of Ethnology.

For countless generations families have lived in isolated communities in the Godavari Delta of coastal Andhra Pradesh, learning and reciting their legacy of Vedas, performing daily offerings and occasional sacrifices. They are the virtually unrecognized survivors of a 3,700-year-old heritage, the last in India who perform the ancient animal and soma sacrifices according to Vedic tradition. In Vedic Voices, David M. Knipe offers for the first time, an opportunity for them to speak about their lives, ancestral lineages, personal choices as pandits, wives, children, and ways of coping with an avalanche of changes in modern India. He presents a study of four generations of ten families, from those born at the outset of the twentieth century down to their great-grandsons who are just beginning, at the age of seven, the task of memorizing their Veda, the Taittiriya Samhita, a feat that will require eight to twelve years of daily recitations. After successful examinations these young men will reside with the Veda family girls they married as children years before, take their places in the oral transmission of a three-thousand-year Vedic heritage, teach the Taittiriya collection of texts to their own sons, and undertake with their wives the major and minor sacrifices performed by their ancestors for some three millennia. Coastal Andhra, famed for bountiful rice and coconut plantations, has received scant attention from historians of religion and anthropologists despite a wealth of cultural traditions. Vedic Voices describes in captivating prose the geography, cultural history, pilgrimage traditions, and celebrated persons of the region. Here unfolds a remarkable story of Vedic pandits and their wives, one scarcely known in India and not at all to the outside world.