Search Results (10)

The “hand-waving sacrifice” is a large-scale sacrificial ceremony with more than 2000 years of history. It was passed down from ancient times by the Tujia ethnic group living in the Wuling Corridor of China, and it integrates religion, sacrifice, dance, drama, and other cultural forms. It primarily consists of two parts: ritual content (inviting gods, offering sacrifices to gods, dancing a hand-waving dance, etc.) and the architectural space that hosts the ritual (hand-waving hall), which together constitute Tujia’s most sacred ritual space and the most representative art and culture symbol. Nonetheless, in existing studies, the hand-waving sacrifice ritual, hand-waving hall architectural space, and hand-waving dance art are often separated as independent research objects, and little attention is paid to the coupling mechanism of the mutual construction of space and ritual in the process of historical development. Moreover, with the acceleration of modernization, the current survival context of the hand-waving sacrifice has undergone drastic changes. On the one hand, the intangible cultural heritage protection policy and the wave of tourism development have pushed it into the public eye and the cultural consumption system. On the other hand, the changes in the social structure of traditional villages have led to the dissolution of the sacredness of ritual space. Therefore, using the interaction of “space-ritual” as a prompt, this research first uses GIS technology to visualize the spatial geographical distribution characteristics and diachronic evolution process of hand-waving halls in six historical periods and then specifically analyzes the sacred construction of hand-waving hall architecture for the hand-waving sacrifice ritual space throughout history, as well as the changing mechanism of the continuous secularization of the hand-waving sacrifice space in contemporary society. Overall, this study reveals a unique path for non-literate ethnic groups to achieve the intergenerational transmission of cultural memory through the collusion of material symbols and physical art practices, as well as the possibility of embedding the hand-waving sacrifice ritual into contemporary spatial practice through symbolic translation and functional extension in the context of social function inheritance and variation. Finally, this study has specific inspirational and reference value for exploring how the traditional culture and art of ethnic minorities can maintain resilience against the tide of modernization. Full article

I will read Genesis 3:16 through the lens of Genesis 4. While Eve has become a fixed object in traditional interpretation as a dangerous temptress for man and the cause of humanity’s fall into sin, her story does not end in this chapter. Eve’s creative agency as “mother of all living” becomes the framework for the drama that unfolds in Genesis 4. Her body and her voice carry the story of life into the future. This essay shows the connection between Genesis 3:16 and the story in Genesis 4 by moving beyond a linguistic analysis of the common verbs, mashal and teshuqah. I will read the two texts together with the ancient scribes who distinguished Genesis 3:16 by placing this one verse between two setumah markers. Likewise, the story of Eve in Genesis 4:1–5:2 is placed between two setumah markers, thereby showing that ancient Hebrew readings emphasized a close relationship between Genesis 3:16 and Genesis 4:1–5:2. This is opposed to the Christian chapter division, which separates Genesis 3 from the story in Genesis 4, and places Genesis 3 in an authoritative position for the sake of extrapolating the doctrine of the fall into sin with the woman playing the central role in the fall story. I will further engage in deep reading, literary analysis, and performance criticism, and argue that Eve tells her own creation story with masterful subversiveness and creative audacity. The attempt of the essay is to reorient the dominant negative view of Eve toward a more positive, complex, and nuanced reading of her character in the Genesis text. Full article

Puppets, a kind of wooden figure whose movements are manipulated by artists, were frequently used in ancient Chinese singing and dancing activities and dramas. The uniqueness of substituting human beings for puppets has drawn tremendous attention from scholars. However, despite previous research on the long development process of puppet dramas, a considerable number of details remain neglected, and behind these details lies an abundance of complicated religious factors. Therefore, this paper uses several fragments as entry points in terms of puppet dramas’ modeling, materials, craft, rites, function, artists, organization, and other aspects to comprehensively analyze the influence of witchcraft, Daoism, and Buddhism on China’s puppet dramas. This research first unveils that a ferocious appearance and mahogany as a material, both used in puppets, are outer manifestations to reveal the magical power of witchcraft. Next, the rites performed in Li Yuan Jiao using ritual puppets were characterized by mystery in their implication and ambiguity in their religious sect, which was related to the attempt to hide their notorious identities as wizards on the part of the artists. Third, general puppet artists enjoyed a fairly high social status, conferred by their semi-religionist identity and the puppet dramas’ historical status. Finally, the improvement in the puppet-making process and the emergence of skeleton-style puppets embody the secularization of the spread of Buddhism. Full article

This article begins with an analysis of Simone Weil’s notion of “impersonality”, which implies disengagement from earthly attachments, deep introspection, and connection with an “anonymous” God, that is, with an imagined spiritual force of purity, located beyond the observable secular world. “Impersonality” encourages purification (or catharsis) from frantic passions (excited by such attachments); it inspires love, which Weil associates with respect and selfless devotion to social justice. My goal is to identify a shared set of similarities between Weil and Martin Luther King Jr. on the issue of individual catharsis, acknowledging also important divergences. King—contra Weil—claimed that rejection of frantic passions is incited through connection with a “personal” (rather than “anonymous”) God, with a high moral power, which responds to individual prayers and leads men and women into the path of love. Like Weil, King associated love with mutual respect and social justice. Both Weil and King believed that individual catharsis should lead to civil disobedience, whose ultimate objective is collective catharsis, that is, the abandonment of deeply rooted attitudes and beliefs (on behalf of a collectivity) that (sometimes unknowingly) perpetuate injustices, causing great suffering. By reflecting on the viewpoints offered by these thinkers, the present study will attempt to shed light on the process by which collective catharsis shifts public attitudes. The aim of civil disobedience, I will explain, is to dramatize social evils (such as racism and social exclusion), making large portions of a society aware of their passive reproduction of attitudes that contribute to the perpetuation of such unjust practices. Full article

Within the ancient corpus we find depictions of people seeking refuge and protection: in works of fiction, drama and poetry; on wall paintings and vases, they cluster at protective altars and cling to statues of gods who seemingly look on. Yet the ancient evidence does not lend itself easily to exploring attitudes to refugees or asylum seekers. Hence, the question that begins this investigation is, representation of whom? Through a focus on the Greco-Roman material of the Mediterranean region, drawing on select representations, such as the tragedies Medea and Suppliant Women, the historical failed plea of the Plataeans and pictorial imagery of supplication, the goal of the exploration below is not to shape into existence an ancient refugee or asylum seeker experience. Rather, it is to highlight the multiplicity of experiences within narratives of victimhood and the confines of such labels as refugee and asylum seeker. The absence of ancient representations of a generic figure or group of the ‘displaced’, broadly defined, precludes any exceptionalising or homogenising of people in such contexts. Remaining depictions are of named, recognisable protagonists, whose stories are known. There is no ‘mass’ of refuge seekers, to whom a single set of rules could apply across time and space. Given these diverse stories of negotiation for refuge, another aim is to illustrate the ways such experience does not come to define the entirety of who a person is or encompass the complete life and its many layers. This paper addresses the challenges of representation that are exposed by, among others, thinkers such as Hannah Arendt, Liisa Malkki and Gerawork Gizaw. Full article

Yingshen saishe or saishe is a general name for all types of temple festivals held to offer sacrifices to deities of local communities. With its roots traceable to ancient shamanic beliefs and practices, saishe demonstrates itself as a closely integrated form of religious ritual performance and musical/theatrical performance and proves to be instrumental in the development of Chinese theatre from ritual to drama. Based on my fieldwork on Jiacun Double-Fourth Temple Festival in May 2016, this paper offers a close examination of Jiacun temple culture and temple theatre with focus on the religious ritual performance and musical/theatrical entertainment presented during the festival. In so doing, this paper provides an enhanced understanding of the highly dynamic, interactive relationships between temple and theatre and between efficacy and entertainment. Full article

This article looks at the ‘public’ ‘place’ of drama in Britain at present by offering an analysis of a contemporary version of an ancient Greek play by Aeschylus, entitled The Suppliant Women, written by David Greig, directed by Ramin Gray, and first performed at the Royal Lyceum Theatre Edinburgh in 2016. Following an agonistic (Chantal Mouffe), rather than a consensual (Jürgen Habermas) model of the public sphere, it argues that under globalisation, three cumulative and interwoven senses of the public sphere, the discursive, the spatial, and the individual and his/her/their relation to a larger form of organisation, despite persisting hegemonic structures that perpetuate their containment, have become undone. This is the kind of unbounded model of public sphere Greig’s version of Aeschylus’ The Suppliant Women seems to suggest by precisely offering undoings of discourses, spaces, and individualisations. In order to frame the first kind of undoing, that is, the unmarking of theatre as contained, the article uses Christopher Balme’s notion of ‘open theatrical public sphere’, and in order to frame the second, that is, the undoing of elements ‘in’ Greig’s version, the article utilises Greig’s concept of ‘constructed space’. The article arrives then at the notion of the open constructed public sphere in relation to The Suppliant Women. By engaging with this porous model of the public sphere, The Suppliant Women enacts a protest against exclusionary, reductive models of exchange and organisation, political engagement, and belonging under globalisation. Full article

The famous acoustics of ancient Greek theatres rely on a successful combination of appropriate location and architectural design. The theatres of the ancient world effectively combine two contradictory requirements: large audience capacity and excellent aural and visual comfort. Despite serious alterations resulting from either Roman modifications or accumulated damage, most of these theatres are still theatrically and acoustically functional. Acoustic research has proven that ancient theatres are applications of a successful combination of the basic parameters governing the acoustic design of open-air venues: elimination of external noise, harmonious arrangement of the audience around the performing space, geometric functions among the various parts of the theatre, reinforcement of the direct sound through positive sound reflections, and suppression of the delayed sound reflections or reverberation. Specifically, regarding the acoustic contribution of the stage building, it is important to clarify the consecutive modifications of the skene in the various types of theatres, given the fact that stage buildings were almost destroyed in most ancient Greek theatres. This paper attempts to demonstrate the positive role of the scenery in contemporary performances of ancient drama to improve the acoustic comfort using data from a sample of twenty (20) ancient theatres in Greece. Full article

The present study investigates whether experiential learning through cultural promenades and ancient Greek drama can constitute an effective method of instilling cultural values in the new generation. For this reason, field research was conducted in the broader area of Acropolis in Athens, Greece. Qualitative research through in-depth interviews followed, in order to record 42 student teachers’ perceptions after their own experiential contact with the method of cultural promenades. This research method with teacher candidates during their vocational training as future teachers is of great importance, as it will indicate whether the method of instilling cultural values through cultural promenades and ancient Greek drama is effective enough to be adopted in later teacher candidates’ teaching in schools. The choice of the sample is strategic, since the teaching specialty of the majority is economics and management, and thus teachers get acquainted with an innovative experiential methodology on teaching economic and cultural sustainability, which—according to literature—are interconnected. The findings reported valuable insights on the effectiveness of the said teaching methodology. The present research is the first that focuses on the descriptive interrelations among cultural promenades, experiential learning, cultural values, and sustainability, and thus it provides policy makers and teachers with invaluable insights. Full article

In this paper, we present a poetics, or guide manual, for making narrative films that resemble biblical narratives. It is similar to Aristotle’s Poetics, only his was for creating drama (though it is of course often used for film now) and was based on Greek dramas and epics. Our poetics is specifically for making films and is based on an even more ancient body of narratives—the Hebrew Bible. In articulating a biblical poetics for filmmakers, we draw heavily on the work of a few of the many biblical-narrative scholars of the last half-century, who draw in turn from the even more extensive research that has been done on narrative theory in general. Our project is one that Aristotle might have undertaken if he had read the Bible and its commentators and known about film. Full article