scholarly journals Yakut Ritual Dance “Pattern”: concepts of life and death

2021 ◽  
Vol 12 (34) ◽  
pp. 604-630
Author(s):  
Angelina Grigorevna Lukina

This article reviews the Yakut ritual dance called “Pattern” which is connected to archaic funeral rite and to the concepts of life and death intrinsic to Yakut culture. The purpose of this article is to find in this dance symbolic and image-bearing elements indicating major concepts in the Yakut consciousness — concepts of life and death; to show the exceptional value and significance of “life” constant in ethnos consciousness; to address the Yakut ritual dance “Pattern” as one of the ways to display life in dance images; and, analysing the meaning of dance structure and choreography, to demonstrate transformation of “death” into a new quality, a symbol of “life”. The present study reveals the meaning of ritual movements by which death “changes into” life. The methodological basis of the article consists of the analysis of bibliographic sources on Yakut ritual dance. The content and meaning of the dance movements are identical to the worldviews of the ancient Turkish people and their concepts of life and death.

Author(s):  
Yevheniia Kanchura

Against the background of a widespread tendency to diminish the sacred meaning of ritual actions, Terry Pratchett’s strive to shed light on the archetypal principles of mythological consciousness in contemporary folklore makes it possible to restorethe connection of the old rites, which have lost their original sense, with the worldview bases of modern society and to reacralize the profane. The Elements of mythological consciousness, manifested in ritual actions inherent in the modern functioning of English folklore, play a meaningful and compositional role in Terry Pratchett’s novels «The Reaper» (1991), «Lords and Ladies» (1992) and «Wintersmith» (2006). In Pratchett’s novels, Morris dance, which traditionally heralds the summer beginning, is balanced by a dance that marks the beginning of winter, indicating the natural cycles change. This manifests the functions of a sacred act: a dialogue between the world and a human, extracting the last from the flow of everyday life, and finalizing the routine work of a farmer. The study suggests the analysis of artistic means describing the Morris dance ritual as a marker of natural cycle changes and as evidence of a human establishing contact with natural forces, enshrined in the narrative and embodied in the dynamic form of dance. A common harvest festival turns into a Dance of the Death and a Maiden, which moves the process of harvesting and preserving the harvest into the realm of the sacred. The motive of the Death and a Maiden dance is being developed in the same compositional plane with the Morris dance motive, as an element of the narrative about the natural balance of life and death,fertility and harvest, about the cycle of the universe based on the love drive. The article examines the compositional elements of choreographic ekphrasis, highlights the significant elements of such a description, indicates the markers of the sacred and the profane, intrinsic to ritual dance in Pratchett’s novels. The conducted research allows to determine the role of dance in Pratchett’s literature work as a marker of the transition from one state to another, as well as season cycle changes.


2021 ◽  
Vol 18 (2) ◽  
pp. 61-71
Author(s):  
Soemaryatmi Soemaryatmi ◽  
Mukhlas Alkaf Mukhlas Alkaf ◽  
Suharji Suharji ◽  
Supriyanto Supriyanto

ABSTRAK Tari Angguk Warga Setuju  merupakan tari yang bertemakan ke Islaman yang digunakan untuk ritual bersih Desa Bandungrejo. Tujuan penelitian adalah untuk mendeskripsikan pelaksanaan pertunjukan Tari Angguk yang digunakan untuk kegiatan ritual desa setempat.Penelitian Tari Angguk menggunakan metode kualitatif, seluruh data yang diambil berupa  kegiatan seperti adat istiadat, pendukung pertunjukan. Tekhnik pengumpulan data menggunakan prosedur observasi, wawancara, dan dokumentasi. Tekhnik analisis data menggunakan analisis bentuk fungsi dan makna.Hasil penelitian  yang diperoleh Pertama, Masyarakat  Desa Bandungrejo,  secara umum merupakan masyarakat tradisional yang masih dipengaruhi nilai-nilai tradisi leluhurnya. Masyarakat  sebagian besar  menganut agama Islam akan tetapi sisa-sisa kepercayaan animisme, dinamisme  dan totemisme yang berbaur kepercayaan Hindu dan Budha masih terasa, hal ini tercermin pada sesaji dan doa-doa yang disajikan.  Aktivitas dalam upacara merupakan suatu kebiasaan yang dilakukan secara adat yang didasari oleh ajaran-ajaran para leluhur untuk mencapai tingkat selamat.Kedua, Para pelaku Tari Angguk dan penonton menjadi bagian integral seni pertunjukan ritual dan bukan nilai estetis yang akan dicapai tetapi berupa nilai religius yang ditujukan kepada pencipta alam agar  dengan tari mendatangkan kedamaian, kesuburan tanah pertanian, dan kebahagian.  Tari Angguk  selalu dikaitan dengan kekuatan magis simpatetis  sehingga menarik minat penonton. Gerak tari bersifat energik, dengan iringan vokal berisi doa-doa dan musik terbangan. Keyword: angguk, ritual, tari, bersih desa. ABSTRACT Angguk Warga Setuju Dance is a dance with Islamic theme for ritual bersih desa at Bandungrejo Village. This research proposed to describe how to perform Angguk Warga Setuju Dance as ritual activity at local.The research about Angguk Dance is conducted by qualitatively method, which is collection data included all activities such as customs and supporting performance. Data sampling techniques are observation, interview, and documentation. This research uses analysis for function and meaning as its technique of data analysis.Research results shows: Firstly, generally, people of Bandungrejo Village are traditional societies which still affected by their ancestor’s tradition value. Most of them are belief in Islamic. However, there is remaining belief from animism, dynamism, and totemism that blend in Hindhu and Budha belief that still feel; it reflected in sesaji and prayer presented. Activities within a ceremony have been customary habits based on ancestor’s belief to get safety.Secondly, performers and audiences of Angguk Dance are integral part of ritual performance; which is not to reach aesthetic value but religious just for Creator, at mean, a dance will result in peace, field fertility, and happiness. Angguk Dance always in relation with magical sympathetic strength, so it attracts audiences’ interest. Dance movements are energetic and accompanied by vocal included prayers and terbangan music. Keywords: angguk, ritual, dance, bersih desa


Author(s):  
Е.Б. Бесолова

Философия смерти, как и философия жизни, в системе религиозных воззрений древних обществ и загадочна, и доминирующе, и это обусловливает схожесть некоторых религиозных представлений иранцев и осетин, в которых прочитывается как идея тесной связи жизни и смерти, так и бессмертие души и вечной жизни. Все средства, используемые в погребальном обряде, подчиняются задаче: интерпретировать душераздирающее явление, сделать данный устойчивый пласт традиционной духовной культуры максимально понятным и распознаваемым. Исследователями замечено, что чувство общности сообщества ощутимо усиливается во время обязательных ритуалов и обрядов, связанных с культом предков и поминанием душ усопших, а также верой в воссоединение с ними после смерти. Более того, иранцы всегда считали, что на всех праздниках и торжествах присутствуют души умерших предков, которые радуются вместе с живущими. Новруз празднуют и в Иране, и на Кавказе, и в Средней Азии, что подтверждает предположение С. П. Толстова о том, что связи народов Средней Азии с переднеазиатским этнографическим миром уходят в глубокую доиндоевропейскую древность. В статье рассматривается один из аспектов погребального обряда культ почитания предков, потому что он более стоек, чем религиозные воззрения. В ней предпринимается попытка найти схождения между празднованием наступления Нового года (Новрузом) и праздниками почитания умерших предков у иранцев и осетин, а также выявить связь культа фравашей с культом умирающей и воскресающей природы. The philosophy of death, as well as the philosophy of life, in the system of religious views of the ancient societies is both mysterious and dominant, and this determines the similarity of some religious ideas of the Iranians and the Ossetians, testifying to the idea of close connection between life and death, and to the immortality of the soul and eternal life. All the means used in the funeral rite comply with the task: to interpret the heartbreaking phenomenon, to make this stable layer of traditional spiritual culture as clear and recognizable as possible. The researchers have noted so far, that the sense of community is significantly enhanced during the obligatory rituals and ceremonies associated with the cult of ancestors and remembrance of the souls of the dead, as well as the belief in reunion with them after death. Moreover, the Iranians have always believed that the souls of dead ancestors attend all holidays and celebrations, where they rejoice with the living. Novruz is celebrated in Iran, the Caucasus, and Central Asia, which confirms the presumption of S. P. Tolstov, that the relations of the peoples of Central Asia with the Near Eastern ethnographic world go back to pre-Indo-European antiquity. The article considers one of the aspects of the funeral rite the cult of veneration of ancestors, which is more resistant than religious views. The attempt is undertaken to find convergence between the New Year (Novruz) and the holidays of veneration of the deceased ancestors of the Iranians and the Ossetians, as well as to identify the relationship between the cult of the Fravas and the cult of the dying and resurrecting nature.


Tempo ◽  
1948 ◽  
pp. 9-13
Author(s):  
W. H. Haddon Squire

The late Professor Collingwood claimed that the dance is the mother of all languages in the sense that every kind or order of language (speech, gesture, and so forth) is an offshoot from an original language of total bodily gesture; a language which we all use, whether aware of it or not—even to stand perfectly still, no less than making a movement, is in the strict sense a gesture. He also relates the dance to the artist's language of form and shape. He asks us to imagine an artist who wants to reproduce the emotional effect of a ritual dance in which the dancers trace a pattern on the ground. The emotional effect of the dance depends not on any instantaneous posture, but on the traced pattern. Obviously, he concludes, the sensible thing would be to leave out the dancers altogether, and draw the pattern by itself.


Author(s):  
Richard T. Vann ◽  
David Eversley
Keyword(s):  

Author(s):  
Bertram Gawronski

Abstract. Drawing on recent criticism of the Implicit Association Test (IAT), the present study tested the convergent and discriminant validity of two prejudice-related IATs to corresponding explicit prejudice measures in a German student sample (N = 61). Confirming convergent validity, (a) an IAT designed to assess negative associations related to Turkish people was significantly related to the explicit endorsement of prejudiced beliefs about Turkish people, and (b) an IAT designed to assess negative associations related to East Asians was significantly related to explicit prejudice against East Asians. Moreover, confirming discriminant validity, (c) the Asian IAT was unrelated to the explicit endorsement of prejudiced beliefs about Turkish people, and (d) the Turkish IAT was unrelated to explicit prejudice against Asian people. These results further corroborate the assumption that the IAT is a valid method to assess the strength of evaluative associations in the domain of prejudice and stereotypes.


PsycCRITIQUES ◽  
2009 ◽  
Vol 54 (35) ◽  
Author(s):  
Frank Farley ◽  
Debbie Joffe Ellis
Keyword(s):  

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