Search Results (187)

This article investigates the case of Jewish Spiritual Renewal (JSR) to illuminate the evolving landscape of Jewish textuality and therapeutic literacies shaped by spiritual, neoliberal, and therapeutic discourses. Based on qualitative methodology, utilizing case studies and long-term field work, it highlights the continuing importance of texts in contemporary Jewish expressions of devotion. Despite JSR’s primary focus on embodied spiritual experience, the article shows how Jewish texts are integrated into study sessions, workshops, courses, and rituals, to promote therapeutic insights and spiritual development. Aligning with other modern forms of Jewish spirituality, JSR posits that Jewish texts are valuable insofar as they facilitate personal growth and self-transformation. This is achieved through the intentional selection and performance of texts, particularly those from Jewish esoteric traditions, Kabbalah, Hasidism, and ethical literature (Musar), often interpreted in a psychological context. Full article

This article offers a descriptive analysis of a specific form (uṣūl) of prophetic eulogy (ṣalawāt) as vocally performed within Sufi orders such as the Rifāʿiyya, Qādiriyya, and Jarrahiyya of today’s Türkiye. It combines a music–theoretical and music–sociological as well as ritual–theoretical perspective to examine how the structured performance of these chants functions both as a spiritual practice and as a means of social formation. Drawing on this dual perspective, the article analyses the underlying musical structures and elements of the ṣalawāt chant, such as melody, rhythm, harmony, modal frameworks, and dynamics. By examining how these formal aspects shape the aesthetic experience, emotional resonance, and theological significance of the eulogy, the study aims to highlight its performative and affective potential within Sufi devotional practice. Within the ritual framework of Sufi orders (ṭarīqa), this rhythmic and collective performance acts as a practice of tazkiya an-nafs (self-purification), cultivating attentiveness, moral refinement, and communal belonging through synchronized voice, breath, and bodily presence. The repeated invocation of the Prophet Muḥammad, venerated as the perfect human (al-insān al-kāmil), thus becomes a means of fostering inner transformation and spiritual proximity. In this way, ṣalawāt chanting mediates religious meaning not only through text but through embodied experience and performative devotion. Full article

Peking opera The Revenge of Prince Zi Dan reinterprets Shakespeare’s Hamlet by integrating supernatural elements and traditional rituals from Chinese folk religion. The religious transformation is revealed through the reworking of lines, incorporation of ritual traditions, and portrayal of supernatural figures. The divine entity that is invoked in Hamlet’s prayers (2.2.169, 5.2.316) and Claudius’s repentance (3.3.36–72) is translated as tian 天 (Heaven) in Revenge, thus introducing the concepts of the worship of tian and tianming 天命 (Mandate of Heaven). Revenge also adapts Claudius’s command of “give me some light” (3.2.261) by associating it with ancient exorcisms, thereby dramatizing his attempts to conceal the guilt for regicide. Ophelia’s “maimed rites” (5.1.208) are depicted as a deviation from Confucian funeral rites in Revenge, reflected in the simplified funeral banners and Hamlet’s transgressive mourning. The “sulphurous and tormenting flames” (1.5.3) and the morning cock’s crow (1.2.217) are reinterpreted through the introduction of the judicial system of the underworld. These changes are not merely transitions in performing conventions but reflect the deep connection between folk religion and traditional Chinese theater through these prayers, rituals, and supernatural elements, thus creating a specific theatrical “field” in which Chinese folk religion interacts with Western classics. Full article

This article examines Daoist ritual and meditative practices, primarily developed between the fourth and twelft centuries, as cosmotechniques: methods for engaging, recalibrating, and occasionally overturning the spatial and temporal order. It first outlines the cosmological framework of the pre-Qin and Qin–Han periods, in which space and time were conceived as correlative and qualitative, forming the grounds of Daoist practice. Daoist foundational practices elaborately aligned with this framework but also introduced subtle disruptions that discover the singular space–time for transformation. Through the investigation of bodily cultivation and communal rituals, this study argues for attention to the performative aspect of Daoist practices, aiming to access and enact alternative space–time, and suggesting a dynamic interplay between alignment and disruption. The study further analyzes internal alchemy and visionary practices that engage in radical reversals of natural rhythms—employing fire, dissolution, and systemic negation to reconfigure cosmic flow. As shown here, Daoist practice is not merely contemplative but performative, reconstituting space–time and body. Though not articulated in ecological terms, such practices demonstrate ways of modeling and modulating lifeworlds attuned to the rhythms of nature—pointing to the possibility of reshaping life under unplugged conditions. Full article

Kumbapattu is a folk song of the indigenous Kurichiya community sung during Thira, a religious festival celebrated during the month of Kumbham (February). It narrates the mythical life and actions of Malakkari, an embodiment of Lord Shiva and the chief deity of the Kurichiya. A critical study of this 1051-line folk song, its ritual performance, and its ecological fountainheads can contribute to our understanding of the cultural and ritualistic energies and functions of indigenous art forms. This paper examines the role played by religious folk songs in reiterating Kurichiya identity and community integration, and the relevance of such narratives in addressing ecological challenges while sustaining cultural heritage. The method of close textual analysis of Kumbapattu is employed to decode the religious concepts and philosophies of the community, supplemented by observations of ritual performances during fieldwork. This study draws on both primary and secondary materials for the analysis. The study employs Bronisław Malinowski’s myth–ritual theory to examine the relationship between myth and ritual and their role in shaping the Kurichiya identity. Further, William R. Bascom’s four functional categories are applied to identify the ecological functions expressed through the song, since the community is traditionally agrarian and still largely depends on forest and environment for a significant part of their community life. To provide a culturally grounded interpretation that reflects Kurichiya worldviews, the study also incorporates indigenous epistemology to make the analysis more relevant and comprehensive. Full article

The subtropics are affected by severe climate change, which may induce heat stress in animals. Moreover, the region is significantly seasonal; hence, mitigating climate risks and implementing climate adaptation measures are necessary. Sustainable Development Goals 1, 2, and 13 call for no poverty, zero hunger, and climate action. These are the most severe problems affecting food security in the modern world. Food security refers to a situation in which all people have physical, social, and economic access to sufficient, proper, and healthy food that satisfies their dietary requirements. Nevertheless, the projected increase in the human population implies a greater demand for employment opportunities; hence, developing countries are building more industrial areas. The burning of fossil fuels in various industries potentiates climate change and environmental pollution. It is predicted that the ecological temperature will increase by almost 2.3–4.8 °C by 2100 due to climate change. Agriculture and animal products remain vital in Africa as drivers of the economy and transformation for sustainable livelihood and development. Sheep production has long been used as a source of income and livelihood and provides jobs for people who live in rural areas. It is also sometimes used for ritual ceremonies and to pay penalties to local authorities. Nevertheless, sheep have been identified to be sensitive to heat stress, characterized by low reproductive performance, low microbiota quantities, and poor general health. There are different strategies for mitigating heat stress; however, many smallholder farmers have limited access to education and lack the financial support required to incorporate artificial shade and plant trees for shade to limit heat stress. In this review, we aim to understand the effects of environmental heat stress on sheep production and reproductive performance. Based on this review, it can be concluded that heat stress can threaten food security if not addressed, especially for farmers who depend on sheep rearing. As a result, future studies are recommended to understand different adaptation methods that can be used to mitigate the heat stress effect on sheep productivity, reproductivity, and general health. Full article

This study explores the archaeoacoustics of rock imagery at Site 26LN211, the northernmost petroglyph site in the White River Narrows (WRN) Archaeological District, Nevada, USA. The research examines the relationship between rock writing placement and acoustic properties, considering their potential significance to indigenous groups such as the Southern Paiute and Western Shoshone. Fieldwork conducted in 2024 employed impulse response recordings to analyze sound behavior in various spatial configurations, including near and distant measurements. The results indicate that, unlike other WRN sites with strong echoes and reverberation, Site 26LN211 exhibits clear sound transmission with limited acoustic reflections. This suggests its suitability for oral storytelling, song recitatives, and ritual practices rather than sound-enhanced ceremonial performances. Additionally, the presence of vision quest structures above the site implies spiritual significance, although the results do not show a significant acoustic relationship between them and the petroglyph zone. Comparative studies with other indigenous sites reinforce the role of acoustics in shaping cultural landscapes. These findings contribute to broader discussions on the interplay between rock writing, sound, and indigenous traditions, emphasizing the need for preservation. Full article

This research presents a methodological approach combining UAV-LiDAR technology and SfM photogrammetry for the comprehensive documentation and analysis of O Corro dos Mouros, a Bronze-to-Iron Age archaeological site in the northwest of the Iberian Peninsula. The study evaluates both the capabilities and limitations of this integrated approach, focusing on a recently identified Roda-type structure, characterised by circular stone architecture and funerary-ritual functionality, dating between the 15th and 3rd centuries BC. The methodology combines RTK-corrected LiDAR (150 pts/m², ±5 cm accuracy) with 20.4 MP RGB imaging, overcoming vegetation cover while capturing surface details. The results demonstrate the superior performance of the proposed methodology compared to public LiDAR (1 m resolution), offering more detailed and precise microtopographic data of the circular structure. The approach successfully addresses three key challenges: (1) dense vegetation penetration, (2) multi-phase stratigraphic documentation, and (3) non-invasive monitoring of sensitive sites. The centimetre-accurate 3D models (publicly available via Sketchfab) provide both research-grade data for analysing construction phases and contextual relationships with nearby rock art/megaliths, and engaging visualisations for heritage interpretation. This work establishes a replicable technical framework optimised for high-resolution archaeological documentation, with direct applicability to similar ritual landscapes (hillforts, burial mounds) across the region. Full article

Konparu Zenchiku (1405–c. 1470) was the son-in-law of Zeami Motokiyo. Zeami is the most famous nō actor–writer–composer–showman–impressario, but Zenchiku brought nō back from the shōgun’s court to the temples, effectively resacralising the art form for a troubled, violent age. This paper asks whether Zenchiku’s approach to theatre has anything to teach us as contemporary creators and audiences in our own unstable era and, simultaneously, whether contemporary modes of interpretation, such as queer musicology, can highlight new aspects of Zenchiku’s work. Focusing on the under-studied and under-performed play Mekari—which dramatises a ritual cutting of seaweed at the Kanmon Strait between the islands of Kyūshū and Honshū as the new lunar year dawns—this paper explores how Zenchiku’s work plays with—crosses back and forth over—multiple physical, temporal, and spiritual boundaries in both its text and performance, leaving the audience with a sense of ambiguity and questioning the received wisdom of conventional capitalist reality. This paper concludes with a look at Kyōto School philosopher Ueda Shizuteru’s concept of the hollow expanse, or a place of limitless possibility. This paper argues that the audience viewing these ambiguities cultivated by Zenchiku’s sacred dramas—via the music, words, and staging together—might themselves be given a glimpse into the radically open place of the ‘hollow expanse’. The first full English translation of Mekari is included in Appendix A. Full article

This study offers a comparative analysis of preparatory practices in Buddhist meditation, focusing on the Tiantai tradition of medieval China and the Nyingma tradition of tenth-century Tibet. Challenging the view of meditation as solely a mental experience, it highlights the critical role of the body in shaping contemplative training. Drawing on recent Buddhist studies and cultural embodiment theory, the paper argues that preparatory practices are essential stages of psychophysical transformation, not just preliminary steps. The study explores early Chinese Tiantai texts, particularly Zhiyi’s meditation manuals, which present twenty-five preparatory practices involving posture, diet, breath control, and ethical restraint. In parallel, the paper examines Nupchen Sangye Yeshe’s bSam gtan mig sgron from the Tibetan Nyingma tradition, highlighting its emphasis on physical integrity, ritual purity, four supportive conditions, and environmental harmony. While Tiantai sources provide a structured methodology, Nyingma practices integrate these elements within broader tantric and visionary frameworks. The paper concludes that these practices are not only supportive of meditation, but also performative enactments of Buddhist cosmology and ethics, positioning the body as central to meditation’s transformative potential. Full article

This study demonstrates that Paul presents the Eucharist in 1 Corinthians 11:17–34 as an identity-forming and identity-sustaining liturgical act. Through literary analysis, the research first highlights Paul’s deliberate fivefold use of the verb συνέρχομαι (“to come together”) to frame the passage, emphasizing the communal nature of the Eucharist. The meal is intended to mark the identity of the church as one body—set apart from the status-based divisions typical of Roman banquet culture. The current study also observes that Paul strategically places the early Christian confession of the Lord’s Supper at the center of his argument. In doing so, he calls the Corinthians to recall this tradition and re-engage in a shared act of remembrance—one that enacts the memory of Christ’s death and thereby reconstitutes them as a unified body. This understanding is rooted in Jewish conceptions of ritual memory, in which liturgical acts not only recall the past but renew and reinforce communal identity. Through such embodied remembrance, the church does not merely recall who it is; it performs and sustains that identity. Thus, the Eucharist functions both to form the church as one body distinct from the world and to maintain that identity through repeated, participatory remembrance. Full article

This article examines the influence of local government on the folk rituals of Rebgong in China’s Amdo Tibetan region, by highlighting the example of Wutu, a tiger festival held in one Tu minority village. In particular, it encapsulates the impact of local government intervention through the changed meaning of the “magic” bread in the ritual. Originally, the dough was rubbed on sick parts of the villagers’ bodies, and the bread was subsequently removed from the village by the Wutu performers as a medium for the elimination of sickness. In recent years, however, the bread has become one of the important positive symbols of the festival, and, during one dance performance in the 2018 ceremony, was actively promoted for consumption as “healthy for old people and good for healing diseases!” This intervention on the materiality at the heart of the festival has influenced its meaning away from that of a negative shamanic rite concerned with the expulsion of evil towards a more positivist celebration of China’s minority ethnic cultural heritage. Full article

The Eastern Minyag is a small community located east of Gangkar Mountain (Chinese: gongga shan) in Southwest China. Their complex rituals, performed by ritual specialists (sutcywu), serve various purposes: diagnosing the causes of individual psycho-physical ailments, investigating the misfortunes affecting entire families, making offerings to the ancestors, and banishing the ghosts of the deceased. While research on the ritual traditions of communities in the Sino-Tibetan borderlands often subsumes Eastern Minyag rituals under the general category of Tibetan Bon, this article adopts a context-oriented approach that highlights the environmental conditions and cosmology of the Eastern Minyag community. Based on ethnographic fieldwork conducted by the author in 2018–2019, the article examines the material aspects of Eastern Minyag rituals occurring in domestic spaces. Specifically, it first explores how natural elements of animal and plant origin are selected and manipulated to create ritual objects. Secondly, it offers an overview of the setups and processes involved in the vivi ritual. Lastly, it reflects on the temporary agency of ritual objects contingent upon their ephemeral materiality. Full article

Votive offerings are one of the most common devotional practices in Hindu temples of Kerala and are today resorted to by an ever-growing number of worshippers seeking divine help in times of need. As this article will show, these offerings are deeply embedded in the logics of the hyper-personalized and unmediated devotion that characterizes popular Hinduism in this part of India. They are also markers of the recent opening of religion to individual contribution and intervention, as well as active tools for the intimate worshipper–deity relationship. Ritual arts conducted as votive offerings allow us to dive even deeper into these considerations and open up new alleys of analysis, for they connect public and private worlds in specific ways and introduce unique aesthetic and transactional dimensions. This article draws on extensive ethnographic fieldwork conducted in the south Indian state of Kerala, with particular focus on the ritual performing art muṭiyēṯṯu’, which is mainly conducted as a votive offering in high-caste temples devoted to the goddess Bhadrakāḷi. It pulls together anthropology, performance, and religious studies to analyze the current grassroot-level realities of lived popular religion through the prism of votive offerings in general and of ritual performing arts conducted as votive offerings in particular. Full article

This article argues that Daoism embodies a performative approach to hell. To make this argument, the first section summarizes the “strong view of hell”. The second section explores how the Daoist text Scripture of the Three Offices (Sanguan jing 三官經) describes hell. The third section examines how the Daoist priest Nie Shihao 聶士豪 (fl. 1691) interprets this description of hell. His commentary shows that Chinese rituals constitute a venue whereby social actors pursue ritual criticism and self-reflexivity. Full article