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Rethinking Economics and Religion through Funerals of the Volta Basin
Title
Rethinking Economics and Religion through Funerals of the Volta Basin.
Creator
Miller, Jesse Christian, Hellweg, Joseph, Gaiser, Adam R., Cuevas, Bryan J., Florida State University, College of Arts and Sciences, Department of Religion
Abstract/Description
This paper explores the ritualized gift-giving that occurs at funerals in the Volta Basin. Other studies of hierarchical gift exchange in the region have failed to notice the salience of funeral gifting, which is actually the most prestigious form of reciprocity because it allies the living with the dead, who in turn aid the living and ensure the integrity of all other exchanges in the hierarchy. This paper examines this relationship by analyzing case studies of funerary practice from four...
Show moreThis paper explores the ritualized gift-giving that occurs at funerals in the Volta Basin. Other studies of hierarchical gift exchange in the region have failed to notice the salience of funeral gifting, which is actually the most prestigious form of reciprocity because it allies the living with the dead, who in turn aid the living and ensure the integrity of all other exchanges in the hierarchy. This paper examines this relationship by analyzing case studies of funerary practice from four different Voltaic societies, with a special focus on the Mossi empire of Burkina Faso. The thesis concludes by exploring how the findings reveal the relevance of religious studies to understanding the economic dimension of ritual behavior and the ritual ends of much economic exchange.
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Date Issued
2017
Identifier
FSU_SUMMER2017_Miller_fsu_0071N_14014
Format
Thesis
To and Through the Doors of Ocha
Title
To and Through the Doors of Ocha: Music, Spiritual Transformation, and Reversion Among African American Lucumí.
Creator
Beckley-Roberts, Lisa Michelle, Gunderson, Frank D., Jones, Maxine Deloris, Bakan, Michael B., Von Glahn, Denise, Florida State University, College of Music
Abstract/Description
This dissertation asserts that members of Ile Asho Funfun, the Lucumí spiritual house at the center of the research, is comprised of members who have undergone the process of converting to the spiritual practice of Lucumí and, as such, have experienced tremendous personal transformation. The author argues that the religious practice of Lucumí was introduced to African Americans through music and dance traditions in the 1940s by performing artists and that since that time music has been one of...
Show moreThis dissertation asserts that members of Ile Asho Funfun, the Lucumí spiritual house at the center of the research, is comprised of members who have undergone the process of converting to the spiritual practice of Lucumí and, as such, have experienced tremendous personal transformation. The author argues that the religious practice of Lucumí was introduced to African Americans through music and dance traditions in the 1940s by performing artists and that since that time music has been one of the foremost tools of conversion. Among the theories asserted herein, the author develops the theory of reversion to describe the process of conversion from Christianity to Lucumí. Borrowed from Islamic traditions that use the term to refer to a return to the natural state of awareness of the one true God, reversion here is viewed as a return to the religion of practitioners' ancestors and to a set of practices that are innately a part of human understanding of the cosmos and Creator as well their place within the cosmos and with the Creator. Furthermore, the author contends that process of reversion is ongoing, informed by Afrocentricity, and impacted by the constant expansion and contraction of the religion. These occur as individuals and the community adjust to life events while negotiating their identity as both African and American. This dissertation establishes the theories of expansion and contraction as the processes by which African practitioners of Yoruba-derived religions have always adapted their practices to the situation and environment. The author introduces these concepts as a more precise description of processes of adaptation than the more commonly cited concept of syncretism. The author both observed and practiced the religion for ten years prior to undertaking the research and did field work and ethnographic research for six years while studying for and writing this dissertation using a reflexive approach.
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Date Issued
2016
Identifier
FSU_2016SP_BeckleyRoberts_fsu_0071E_13164
Format
Thesis
For the Motherland (ለእናት ሀገር)
Title
For the Motherland (ለእናት ሀገር): Traditional Music Performance and Nationalism in Addis Ababa, Ethiopia.
Creator
Bishop, Sarah, Gunderson, Frank D., Jackson, Margaret R., Grant, Jonathan A., Florida State University, College of Music
Abstract/Description
This thesis examines staged performances of traditional music in Addis Ababa, the capital city of Ethiopia. It includes the history of traditional performing groups in Ethiopia and their purposes, the continuities and changes in performance practices from the early twentieth century to the present day, and audience perceptions of these performances. Particular attention is given to the relationships between traditional musics and Ethiopian nationalism. In response to the rise of ethno...
Show moreThis thesis examines staged performances of traditional music in Addis Ababa, the capital city of Ethiopia. It includes the history of traditional performing groups in Ethiopia and their purposes, the continuities and changes in performance practices from the early twentieth century to the present day, and audience perceptions of these performances. Particular attention is given to the relationships between traditional musics and Ethiopian nationalism. In response to the rise of ethno-nationalism in the latter part of the twentieth century, the new government regime that came to power in 1994 employed ethnicity as an organizing principle of the state. The new constitution divided the nation into ethnically-based regions, and the current government promulgates a distinct brand of national rhetoric that attempts to appeal to Ethiopia's diverse people groups and promote peaceful interethnic relations. Traditional music groups have played a role in this project. This thesis will examine how these groups reflect and shape ideas of the ideal Ethiopia and interact with state discourse. This research is based on fieldwork that I undertook from May 22 to July 1, 2015, during which I attended traditional music performances and interviewed musicians, administrators, and audience members. The opinions and sentiments of my interlocutors provide insights into some current perceptions of the government and ethnic allegiances as well as how traditional musics play a role in cultivating national pride and conceptualizing the Ethiopian nation. All audio recordings referred to in this document have been made by the author and are included as supplementary files. They are listed as follows: • Track 1 - Oromo Songs, Dimma: a medley of three Oromo songs from Shewa and Kamise regions, performed by the band at Dimma Cultural Restaurant. • Track 2 - Instrumental, Hager Fikir at Cultural Festival: an instrumental arrangement performed by the Hager Fikir Theatre cultural music team in Meskel Square, Addis Ababa. • Track 3 - Welayta and SNNPR Songs, YOD: a medley of songs from southern Ethiopian ethnic groups, performed by the band at YOD Abyssinia Cultural Restaurant. • Track 4 - Instrumental, Songs in Tizita Major K'inyit, YOD: a demonstration of tizita major, one of the indigenous Ethiopian scales, by the band at YOD Abyssinia Cultural Restaurant. • Track 5 - Instrumental, Songs in Anchihoye K'inyit, YOD: a demonstration of anchihoye, one of the indigenous Ethiopian scales, by the band at YOD Abyssinia Cultural Restaurant. • Track 6 - Instrumental, Songs in Ambassel K'inyit, YOD: a demonstration of ambassel, one of the indigenous Ethiopian scales, by the band at YOD Abyssinia Cultural Restaurant. • Track 7 - Instrumental, Songs in Bati K'inyit, YOD: a demonstration of bati, one of the indigenous Ethiopian scales, by the band at YOD Abyssinia Cultural Restaurant. • Track 8 - Instrumental, Songs in Tizita Minor K'inyit, YOD: a demonstration of tizita minor, one of the indigenous Ethiopian scales, by the band at YOD Abyssinia Cultural Restaurant. • Track 9 - Oromo Songs, Hager Fikir at Cultural Festival: songs from the Oromo ethnic group, performed by the Hager Fikir Theatre music team during a festival at Meskel Square, Addis Ababa. • Track 10 - Tigray Song by Alem, Dimma: songs from the Tigray region, performed by Alem Kassa on vocals and krar at Dimma Cultural Restaurant. • Track 11 - Gondar War Song, YOD: a war song from Gondar, Ethiopia, performed by YOD Abyssinia Cultural Restaurant's band and featuring Melaku Terraken. • Track 12 - Instrumental, Dimma: an opening instrumental medley by the band at Dimma Cultural Restaurant. • Track 13 - Tilahun Gessesse Medley, Dimma: a medley of two songs, the first admonishing Ethiopians to love one another and the second a love song, performed by the band at Dimma Cultural Restaurant. • Track 14 - Song Medley with Welayta, Tigray, and Other Ethnic Groups, Yared School: a medley of songs from several Ethiopian ethnic groups performed in concert by students at the Yared School of Music. • Track 15 - Nationalist Songs, Hager Fikir at Beverage Festival: a medley of Ethiopian patriotic songs, performed by the Hager Fikir Theatre group at Meskel Square, Addis Ababa, during the First Annual Beverage Festival.
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Date Issued
2016
Identifier
FSU_2016SP_Bishop_fsu_0071N_13149
Format
Thesis