With penetrating insight Combs-Schilling illuminates the remarkable survival of one of the world's oldest monarchies, still ruling after 1200 years. The author unravels the paradox of this ancient yet progressive institution that has weathered invasion, economic collapse, and colonial assult. The pillars of stability for which political analysts typicaly search -- military strength, bureaucratic control, and commerical prosperity -- have often been absent in Morocco, sometimes for centuries. How then has the monarchy stood firm? In this remarkable book, Combs-Schilling argues that the answer is to be found in the distinctive forms of ritual practice developed during times of great crises. Unique among Islamic governments, the Moroccan monarchy became cnetral to the popular celebrations of the most sacred rituals of Islam, cloaking itself in their sanctity. Combs-schilling breaks new ground in thinking about ritual. The author explores the consequences of the replication and reinforcement of Morocco's national ceremonies in viallages and homes and the metaphorical equivalence thereby built. The author outlines how ritual metaphors simultaneously fuse the monarchy with the hallowed prophets of Islam and the mundane structures of family life. In elucidating the forcefulness of ritual embodiment the book challenges anthropological theory. It demonstrates that rituals created realities by inscribing them deeply within the individual's body and mind. Rituals use eros and physical substance to build imaginative abstractions. Performances of exquisite beauty and grace make the monarchy intrinsic to definitions of male and female, to experience of birth, intercourse, death, and to the ultimate longing to break death's bonds. Combs-Schilling creates a model for national political analysis that takes meaning as well as strategic power into account. The author applies the anthropological analysis of rituals to new arenas -- the nation-state and the world political economy -- without ever losing sight of the individual and the flow of daily life. The book clarifies a distinctive form of nationalism that expands the boundaries articulated by Anderson in Imagined Territories. Rituals rather than territory or administration came to define the Moroccan monarchy and the Moroccan nation under Western assault, and enabled them to survive. For the novice, the book provides an unusual and compelling entry into Islamic culture and history. Yet it is provocative for the expert in its reinterpretation of the strategic dimensions of Muhammad's marriages and the political potency of the rituals of Islam where power, sacrifice, and sexual identity converge. By revealing the link between national ceremony and individual identity, the author calls into question the popular view that sharply divides East and West and suggests commonalities in the structures of political-sexual power that are built into societies that operate within the cultural contexts of the world's three monotheistic faiths: Islam, Judaism, and Christianity.

From Zora Neale Hurston to Derek Walcott to Toni Morrison, New World black authors have written about African-derived religious traditions and spiritual practices. The Sacred Act of Reading examines religion and sociopolitical power in modern and contemporary texts of a variety of genres from the black Americas. By engaging with spiritual traditions such as Vodou, Kumina, and Protestant Christianity while drawing on canonical Eurocentric literary theory, Anne Margaret Castro presents a novel, nuanced reading of power through the physical and metaphysical relationships portrayed in these great works of New World black literature. Castro examines prophecy in the dramas of Derek Walcott, preaching in the ethnography of Zora Neale Hurston, and liturgy in the novels of Toni Morrison, offering comparative readings alongside the works of Afro-Colombian anthropologist Manuel Zapata Olivella, Jamaican sociologist Erna Brodber, and Canadian fiction writer Nalo Hopkinson. The Sacred Act of Reading is the first book to bring together literary texts, historical and contemporary anthropological studies, theology, and critical theory to show how black authors in the Americas employ spiritual phenomena as theoretical frameworks for thinking within, against, and beyond structures of political dominance, dependence, and power.

This book explores how religious values are acted out and reflected on in classic Western theatre, with a particular emphasis on the plays put on during the Globe Theatre‘s yearlong season of 'Shakespeare and the Bible'. Each chapter includes ethnographic overviews of the performance of these plays as well as historical and theological perspectives on the issues they address. The Performance of Religion treads new ground in bringing performance and religious studies scholarship into direct conversation with one another. As such, it is essential reading for any academic with an interest in theology, religion and ethics and their expression in culture through the performing arts.

Our contemporary culture is communicating ever-increasingly through the visual, through film, and through music. This makes it ever more urgent for theologians to explore the resources of art for enriching our understanding and experience of the Judeo-Christian tradition. Annunciations: Sacred Music for the twenty-First Century, edited by George Corbett, answers this need, evaluating the relationship between the sacred and the composition, performance, and appreciation of music. Through the theme of ‘annunciations’, this volume interrogates how, when, why, through and to whom God communicates in the Old and New Testaments. In doing so, it tackles the intimate relationship between Scriptural reflection and musical practice in the past, its present condition, and what the future might hold. Annunciations comprises three parts. Part I sets out flexible theological and compositional frameworks for a constructive relationship between the sacred and music. Part II presents the reflections of theologians and composers involved in collaborating on new pieces of sacred choral music, alongside the six new scores and links to the recordings. Part III considers the reality of programming and performing sacred works today. This volume provides an indispensable resource for scholars and artists working at the interface between theology and the arts, and for those involved in sacred music. However, it will also be of interest to anyone concerned with the ways in which the Divine communicates through word and artistry to humanity.

This definitive two-volume encyclopedia of Latin music spans 5 centuries and 25 countries, showcasing musicians from Celia Cruz to Plácido Domingo and describing dozens of rhythms and essential themes. Eight years in the making, Latin Music: Musicians, Genres, and Themes is the definitive work on the topic, providing an unparalleled resource for students and scholars of music, Latino culture, Hispanic civilization, popular culture, and Latin American countries. Comprising work from nearly 50 contributors from Spain, Latin America, the Caribbean, and the United States, this two-volume work showcases how Latin music—regardless of its specific form or cultural origins—is the passionate expression of a people in constant dialogue with the world. The entries in this expansive encyclopedia range over topics as diverse as musical instruments, record cover art, festivals and celebrations, the institution of slavery, feminism, and patriotism. The music, traditions, and history of more than two dozen countries—such as Argentina, Brazil, Costa Rica, Cuba, El Salvador, Guatemala, Honduras, Mexico, Panama, Spain, and Venezuela—are detailed, allowing readers to see past common stereotypes and appreciate the many different forms of this broadly defined art form.

Using storytelling and performance to explore shared religious expression across continents Through a revolutionary ethnographic approach that foregrounds storytelling and performance as alternative means of knowledge, Situated Narratives and Sacred Dance explores shared ritual traditions between the Anlo-Ewe people of West Africa and their descendants, the Arará of Cuba, who were brought to the island in the transatlantic slave trade. The volume draws on two decades of research in four communities: Dzodze, Ghana; Adjodogou, Togo; and Perico and Agramonte, Cuba. In the ceremonies, oral narratives, and daily lives of individuals at each fieldsite, the authors not only identify shared attributes in religious expression across continents, but also reveal lasting emotional, spiritual, and personal impacts in the communities whose ancestors were ripped from their homeland and enslaved. The authors layer historiographic data, interviews, and fieldnotes with artistic modes such as true fiction, memoir, and choreographed narrative, challenging the conventional nature of scholarship with insights gained from sensorial experience. Including reflections on the making of an art installation based on this research project, the volume challenges readers to imagine the potential of approaching fieldwork as artists. The authors argue that creative methods can convey truths deeper than facts, pointing to new possibilities for collaboration between scientists and artists with relevance to any discipline. Publication of the paperback edition made possible by a Sustaining the Humanities through the American Rescue Plan grant from the National Endowment for the Humanities.

A theologian and a theatre artist examine both the nature of theatrical performance within contemporary culture and its relationship to Christian life, faith, and worship.