Jan N. Bremmer and Andrew Erskine
- Published in print:
- 2010
- Published Online:
- September 2012
- ISBN:
- 9780748637980
- eISBN:
- 9780748670758
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748637980.003.0009
- Subject:
- Classical Studies, Ancient Religions
The worship of Zeus at Olympia is manifested in the Classical period by dozens of monuments, many of them military votives erected as thank offerings by victorious poleis. While such monuments also ...
More
The worship of Zeus at Olympia is manifested in the Classical period by dozens of monuments, many of them military votives erected as thank offerings by victorious poleis. While such monuments also feature in other Panhellenic sanctuaries, such as those dedicated to Apollo at Delphi, and Zeus receives military thank offerings at other sites, such as Dodona, Zeus’ connection with warfare at Olympia extends back in time, perhaps to the earliest period of cult activity at the site in the tenth century B.C. Moreover, the particular form of the Classical dedications to Zeus differs from that of military thank offerings elsewhere in their scale and their use of mythological narratives, sometimes involving the god himself.Less
The worship of Zeus at Olympia is manifested in the Classical period by dozens of monuments, many of them military votives erected as thank offerings by victorious poleis. While such monuments also feature in other Panhellenic sanctuaries, such as those dedicated to Apollo at Delphi, and Zeus receives military thank offerings at other sites, such as Dodona, Zeus’ connection with warfare at Olympia extends back in time, perhaps to the earliest period of cult activity at the site in the tenth century B.C. Moreover, the particular form of the Classical dedications to Zeus differs from that of military thank offerings elsewhere in their scale and their use of mythological narratives, sometimes involving the god himself.
Kenneth Schweitzer
- Published in print:
- 2013
- Published Online:
- March 2014
- ISBN:
- 9781617036699
- eISBN:
- 9781621030065
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781617036699.001.0001
- Subject:
- Music, Ethnomusicology, World Music
An iconic symbol and sound of the Lucumí/Santería religion, Afro-Cuban batá are talking drums that express the epic mythological narratives of the West African Yoruba deities known as orisha. By ...
More
An iconic symbol and sound of the Lucumí/Santería religion, Afro-Cuban batá are talking drums that express the epic mythological narratives of the West African Yoruba deities known as orisha. By imitating aspects of speech and song, and by metaphorically referencing salient attributes of the deities, batá drummers facilitate the communal praising of orisha in a music ritual known as a toque de santo. This book blends musical transcription, musical analysis, interviews, ethnographic descriptions, and observations from his own experience as a ritual drummer to highlight the complex variables at work during a live Lucumí performance. Integral in enabling trance possessions by the orisha, by far the most dramatic expressions of Lucumí faith, batá drummers are also entrusted with controlling the overall ebb and flow of the four- to six-hour toque de santo. During these events, batá drummers combine their knowledge of ritual with an extensive repertoire of rhythms and songs. Musicians focus on the many thematic acts that unfold both concurrently and in quick succession. In addition to creating an emotionally charged environment, playing salute rhythms for the orisha, and supporting the playful song competitions that erupt between singers, batá drummers are equally dedicated to nurturing their own drumming community by creating a variety of opportunities for the musicians to grow artistically and creatively.Less
An iconic symbol and sound of the Lucumí/Santería religion, Afro-Cuban batá are talking drums that express the epic mythological narratives of the West African Yoruba deities known as orisha. By imitating aspects of speech and song, and by metaphorically referencing salient attributes of the deities, batá drummers facilitate the communal praising of orisha in a music ritual known as a toque de santo. This book blends musical transcription, musical analysis, interviews, ethnographic descriptions, and observations from his own experience as a ritual drummer to highlight the complex variables at work during a live Lucumí performance. Integral in enabling trance possessions by the orisha, by far the most dramatic expressions of Lucumí faith, batá drummers are also entrusted with controlling the overall ebb and flow of the four- to six-hour toque de santo. During these events, batá drummers combine their knowledge of ritual with an extensive repertoire of rhythms and songs. Musicians focus on the many thematic acts that unfold both concurrently and in quick succession. In addition to creating an emotionally charged environment, playing salute rhythms for the orisha, and supporting the playful song competitions that erupt between singers, batá drummers are equally dedicated to nurturing their own drumming community by creating a variety of opportunities for the musicians to grow artistically and creatively.
