This book examines the incorporation of newly accessible mass media into practices of religious mediation in a variety of settings including the Pentecostal Church and Islamic movements, as well as the use of religious forms and image in the sphere of radio and cinema.
Tracing the rise and development of the Ghanaian video film industry between 1985 and 2010, Sensational Movies examines video movies as seismographic devices recording a culture and society in turmoil. This book captures the dynamic process of popular filmmaking in Ghana as a new medium for the imagination and tracks the interlacing of the mediumÕs technological, economic, social, cultural, and religious aspects. Stepping into the void left by the defunct state film industry, video movies negotiate the imaginaries deployed by state cinema on the one hand and Christianity on the other. Birgit Meyer analyzes Ghanaian video as a powerful, sensational form. Colliding with the state film industryÕs representations of culture, these movies are indebted to religious notions of divination and revelation. Exploring the format of Òfilm as revelation,Ó Meyer unpacks the affinity between cinematic and popular Christian modes of looking and showcases the transgressive potential haunting figurations of the occult. In this brilliant study, Meyer offers a deep, conceptually innovative analysis of the role of visual culture within the politics and aesthetics of religious world making.
This book offers an ethnography of the emergence of a local Christianity and its relation to changing social, political and economic formations among the Peki Ewe in Ghana. Focusing on the Evangelical Presbyterian Church, which arose from encounters between the Ewe and German Piestist missionaries, the author examines recent conflicts leading to the secession of many pentecostally oriented members, which it places in a historical perspective. The main argument is that, for the Ewe, involvement with modernity goes hand in hand with new enchantment, rather than disenchantment, of the world. At the grassroots level, the study focuses on the image of the Devil, which the missionaries communicated to the Ewe through translation and which currently receives much attention in the Pentecostal churches. It is shown that this image played and still plays a crucial role in the local appropriation of Christianity, since diabolisation confirmed the existence of local gods and witchcraft and incorporated them into Christian belief as demons. Comparing the discourses and practices of mission and Pentecostal churches, the study reveals that the latter pay much more attention to Satan - especially through 'deliverance' rituals. Pentecostalism's increasing popularity thus stems from the fact that it ties into historically generated local understandings of Christianity, which, despite a declared dislike of non-Christian religious practices, stand much closer to Ewe religion than missionary Christianity. With its emphasis on the hybrid image of the Devil and people's obsessions with occult forces as a way to mediate the attractions and discontents of modernity, this book sheds light on a hitherto neglected dimension in studies of African Christianity.
From Shinto shrines to rosary beads, thangka paintings to missionary tracts, mass-produced posters to gravestones, religion is a material process. Charged with culturally-specific sacred meanings, religious objects have been used for purposes of worship, commemoration, art, and even subversion, and have been at the root of some of the world's most hotly contested struggles. Material Religion seeks to explore how religion happens in material culture - images, devotional and liturgical objects, architecture and sacred space, works of art and mass-produced artifacts. No less important than these material forms are the many different practices that put them to work. Ritual, communication, ceremony, instruction, meditation, propaganda, pilgrimage, display, magic, liturgy and interpretation constitute many of the practices whereby religious material culture constructs the worlds of belief. Highly visual in terms of content and in color throughout, this refereed journal seeks also to bridge the worlds of scholarship and museum practice, and to support all those seeking, at whatever level, to understand and explain the relationships between objects, art and belief.
Magic and Modernity is the first book to explore comparatively how magic--usually portrayed as the antithesis of the modern--is also something that is at home in modernity. "Magic" and "modernity" are rarely regarded as belonging together. Evolutionism regarded magic as quintessentially "unmodern." Although psychologists and romantic artists have sometimes declared magic to be a human universal, few modern scholars in the humanities and social sciences have studied how modern culture and institutions incorporated and even produced magic. This book is the first to adopt a comparative approach to the study of magic as something that has a place in modernity, and that helped to constitute modern society at local and global levels. The essays in this collection contribute to recent discussions in anthropology, cultural studies, comparative literature, history, and sociology that increasingly question the extent to which modern self-conceptions are accurate reflections of a state of affairs in the world rather than cultural interventions.
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