Explores the dynamics of African masquerades and mask performances on the continent, linking performative expressions to societal characteristics. What is the meaning of masks and masquerades in African traditions and how can we understand their role in rituals and performances? Why do we find masks in some African regions and not in others, and what does this 'mask habitat' say about the general dynamics of masquerades in Africa? Though masks are among the most famous art icons of Africa, exploration of their uses and the way in which they articulate social characteristics of African societies has been underexamined. This book takes an anthropological perspective on the phenomenon of masquerades on the African continent to show how mask rituals are an integral part of African indigenous religions and societies, and are informed by and linked to specific types of social and ecological conditions. Having established the commonalities of mask rituals and a mask typology, the authors look at the varieties of mask performances and the types of rituals in which masks function in rites of passage and in rituals of gender, power, and identity. The following chapters focus on different types of rituals featuring masks, from initiation and death ceremonies to secrecy, kingship, law and war. With its broad examination of the use of masks on the continent, from Angola to Burkina Faso, Cameroon, DRC, Guinea, Ivory Coast, Liberia, Mali, Nigeria, Senegal, this well illustrated book will stand as an authoritative study of the use of masks, of interest not only to those in African Studies but to anthropologists and ethnographers worldwide.
In the Dogon funeral proceedings, a major song cycle called baja ni is performed in a session of at least seven hours. The texts of the chants are attributed to a legendary figure called Abirɛ, who as a blind singer in the nineteenth century roamed the heartland of the Dogon. The baja ni songs have escaped scholarly attention thus far. Singing with the Dogon Prophet by Walter E.A. van Beek, Oumarou S. Ongoiba, and Atimε D. Saye provides their first publication in English as well as an analysis of these songs. These texts deal with the relations between man and woman, man’s ambivalent dependency on the otherworld, and with life and death; the whole night performance is one of the high points of the funeral. Additionally, Abirɛ is a prophet, and during his life has uttered a great number of prophecies on a wide range of topics, from local issues to the relation of the Dogon with the Fulbe herdsmen, and from the arrival of the colonials to ecological transformation. This book examines how these prophecies with these songs offer an inside view of the way the Dogon construct the present in a continuous dialogue with their past and their projected future.
Walter E. A. van Beek draws on over four decades of extensive fieldwork to offer an in-depth study of the religion of the Kapsiki/Higi, who live in the Mandara Mountains on the border between North Cameroon and Northeast Nigeria. Concentrating on ritual as the core of traditional religion, van Beek shows how Kapsiki/Higi practices have endured through the long and turbulent history of the region.
This study on Kapsiki-Higi tales compares two corpuses of stories collected over two generations. In this oral setting, folktales appear much more dynamic than usually assumed, depending on genre, performance and the memory characteristics of the tales themselves. In northeastern Nigeria the author collected these tales twice with a time gap of two generations, in order to assess the dynamics of this oral transmission. The comparison between the two corpuses shows that folktales are a much more dynamic cultural system than is usually thought. These dynamics affect some types of tales more than others, reflect social change and intergroup contact, but also depend on characteristics of the tales themselves. Cognitive approaches of memory shed light on these varieties of transmission, as do performance aspects in tale telling, in particular ideophones.
The timely follow up to Dr. Martin's "The Kingdom of the Cults," takes his comprehensive knowledge and dynamic teaching style and forges a strong weapon against the world of the Occult.
This study on Kapsiki-Higi tales compares two corpuses of stories collected over two generations. In this oral setting, folktales appear much more dynamic than usually assumed, depending on genre, performance and the memory characteristics of the tales themselves. In northeastern Nigeria the author collected these tales twice with a time gap of two generations, in order to assess the dynamics of this oral transmission. The comparison between the two corpuses shows that folktales are a much more dynamic cultural system than is usually thought. These dynamics affect some types of tales more than others, reflect social change and intergroup contact, but also depend on characteristics of the tales themselves. Cognitive approaches of memory shed light on these varieties of transmission, as do performance aspects in tale telling, in particular ideophones.
Walter E. A. van Beek draws on over four decades of extensive fieldwork to offer an in-depth study of the religion of the Kapsiki/Higi, who live in the Mandara Mountains on the border between North Cameroon and Northeast Nigeria. Concentrating on ritual as the core of traditional religion, van Beek shows how Kapsiki/Higi practices have endured through the long and turbulent history of the region.
In the Dogon funeral proceedings, a major song cycle called baja ni is performed in a session of at least seven hours. The texts of the chants are attributed to a legendary figure called Abirɛ, who as a blind singer in the nineteenth century roamed the heartland of the Dogon. The baja ni songs have escaped scholarly attention thus far. Singing with the Dogon Prophet by Walter E.A. van Beek, Oumarou S. Ongoiba, and Atimε D. Saye provides their first publication in English as well as an analysis of these songs. These texts deal with the relations between man and woman, man’s ambivalent dependency on the otherworld, and with life and death; the whole night performance is one of the high points of the funeral. Additionally, Abirɛ is a prophet, and during his life has uttered a great number of prophecies on a wide range of topics, from local issues to the relation of the Dogon with the Fulbe herdsmen, and from the arrival of the colonials to ecological transformation. This book examines how these prophecies with these songs offer an inside view of the way the Dogon construct the present in a continuous dialogue with their past and their projected future.
Explores the dynamics of African masquerades and mask performances on the continent, linking performative expressions to societal characteristics. What is the meaning of masks and masquerades in African traditions and how can we understand their role in rituals and performances? Why do we find masks in some African regions and not in others, and what does this 'mask habitat' say about the general dynamics of masquerades in Africa? Though masks are among the most famous art icons of Africa, exploration of their uses and the way in which they articulate social characteristics of African societies has been underexamined. This book takes an anthropological perspective on the phenomenon of masquerades on the African continent to show how mask rituals are an integral part of African indigenous religions and societies, and are informed by and linked to specific types of social and ecological conditions. Having established the commonalities of mask rituals and a mask typology, the authors look at the varieties of mask performances and the types of rituals in which masks function in rites of passage and in rituals of gender, power, and identity. The following chapters focus on different types of rituals featuring masks, from initiation and death ceremonies to secrecy, kingship, law and war. With its broad examination of the use of masks on the continent, from Angola to Burkina Faso, Cameroon, DRC, Guinea, Ivory Coast, Liberia, Mali, Nigeria, Senegal, this well illustrated book will stand as an authoritative study of the use of masks, of interest not only to those in African Studies but to anthropologists and ethnographers worldwide.
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