The Rebirth of Improvisation as a Site for Religious Studies Research

2020 ◽  
Vol 49 (3) ◽  
pp. 449-462
Author(s):  
Michael Kaler
Keyword(s):  
Religious Studies ◽  
Grateful Dead ◽  
Religious Traditions ◽  
John Coltrane ◽  
Music Making ◽  
La Monte Young ◽  
Improvised Music ◽  
The 1960S ◽  
Terry Riley ◽  
A Site

In this article, I propose that studies of music’s links to religion go beyond reductionistic links between religious traditions and music forms (e.g., “Music and/in Islam”), and look instead at ways in which music responds to or expresses concerns or aspirations that are linked to religion or spirituality. The article further proposes that, should this approach be adopted, the explosion of radical improvised music-making in the 1960s (associated with such artists as the Grateful Dead, John Coltrane, La Monte Young, Terry Riley, Albert Ayler, etc.) is a very promising site for investigation.

Al Fārūqī between the History of Religions and Islamic Theology

Numen ◽  
2013 ◽  
Vol 60 (2-3) ◽  
pp. 230-250
Author(s):  
Abdulkader Tayob
Keyword(s):  
Religious Studies ◽  
Critical Examination ◽  
Islamic Theology ◽  
Religious Traditions ◽  
The World ◽  
History Of Religions ◽  
History Of ◽  
Truth Claims ◽  
1960S And 1970S ◽  
The 1960S

Abstract Ismāʿīl Rājī al Fārūqī (1921–1986) played a considerable role in the academic study of Islam as it was developing in North America in the 1960s and 1970s. This paper is a critical examination of how he employed the categories of religion and religious studies in his scholarly, dialogical, and Islamist work. The paper follows his ideas of religious traditions, their truth claims, and ethical engagement in the world. For Al Fārūqī, these constituted the main foundations of all religions, and provided a distinctive approach to the study of religions. Al Fārūqī was critical of the then prevailing approaches, asserting that they were either too subjective or too reductionist. He offered an approach to the study of religions based on a Kantian approach to values. Al Fārūqī’s method and theory, however, could not escape the bias and prejudice that he tried to avoid. Following his arguments, I show that his reflections on religion and its systematic study in academia charted an approach to religions, but also provided a language for a particular Islamic theology that delegitimized other approaches, particularly experiential ones, in modern Islam.

scholarly journals SOUTHEAST ASIA: HISTORY, MODERNITY, AND RELIGIOUS CHANGE

Al-Albab ◽  
2015 ◽  
Vol 2 (2) ◽  
Author(s):  
Sumanto Al Qurtuby
Keyword(s):  
Southeast Asia ◽  
Religious Studies ◽  
The Philippines ◽  
Southeast Asian ◽  
Religious Change ◽  
Colonial Era ◽  
Religious Traditions ◽  
Cultural Legacies ◽  
State Organization ◽  
A Site

Southeast Asia or Southeastern Asia, with more than six hundred million populations, is home to millions of Buddhists, Muslims, Confucians, Protestants, Catholics, and now Pentecostals, as well as many followers of local religions and spiritual beliefs. Notwithstanding its great historical, political, cultural legacies, however, the region has long been neglected as a site for religious studies in the Western academia. Aiming at filling the gap in Asian and religious studies as well as exploring the richness of Southeast Asian cultures, this article discusses the dynamics, diversity, and complexity of Southeast Asian societies in their response to the region’s richly political, cultural, and religious traditions spanning from pre-modern era to modern one. The article also examines the “integrative revolutions” that shaped and reshaped warfare, state organization and economics of Southeast Asia, particularly in the pre-European colonial era. In addition, the work discusses the wave of Islamization, particularly since the nineteenth century, as well as the upsurge of religious resurgence that shift the nature of religiosity and the formation of religious groupings in the area. The advent of Islam, with some interventions of political regimes, had been an important cause for the decline of Hindu-Buddhist traditions in some areas of Southeast Asia, especially Indonesia, the coming of Pentecostalism has challenged the well-established mainstream Protestantism and Catholicism, especially in Indonesia and the Philippines. Keywords: history, modernity, religious change, Southeast Asia

Editor’s Corner: Critics or Caretakers?

2015 ◽  
Vol 44 (3) ◽  
pp. 38-39
Author(s):  
Philip Tite
Keyword(s):  
Religious Studies ◽  
Religious Traditions ◽  
Short Piece ◽  
Short Essay ◽  
Academic Study

A short essay, in responding to an online roundtable (the Religious Studies Project), explores the role of progressive ideology in the academic study of religion, specifically with a focus on debates over Russell McCutcheon's distinction between scholars functioning as cultural critics or caretakers of religious traditions. This short piece is part of the "Editor's Corner" (an occasional section of the Bulletin where the editors offer provocative musings on theoretical challenges facing the discipline).

“Hay que Cantar con Ternura”: Baladas Románticas as a Site for Translingual Youth Convivencia

2021 ◽  
pp. 238133772110246
Author(s):  
Cati V. de los Ríos ◽  
Yared Portillo
Keyword(s):  
Music Education ◽  
Participant Observation ◽  
Cultural Knowledge ◽  
Mexican Origin ◽  
Bilingual Students ◽  
Video Recordings ◽  
Music Making ◽  
Schooling Experiences ◽  
K 12 ◽  
A Site

For many Mexican-origin bi/multilingual children, Mexican music education begins early in their home. Music is inextricably linked with the sociocultural context in which it is produced, consumed, and taught and the interrelationship between music, society, and culture. Using ethnographic methods, this article examines a small group of bilingual and emergent bilingual Mexican-origin students who regularly congregated in their English teacher’s classroom at lunchtime to recite and perform romance ballads, or what we refer to as baladas románticas, on a weekly basis. We use participant observation, plática-inspired interviews, focus groups, and video recordings to present ethnographic knowledge about how, for these young people, music was a way of being and a deliberate act to build community. Our findings describe the ways the bilingual students found themselves at the margins of their K–12 schooling experiences and, in turn, agentically fostered their own space for translingual expression and solace. This manifested in two primary ways: (a) how they collectively fostered their own form of convivencia (humanizing coexistence) anchored in their ancestral and cultural knowledge through their music-making and (b) how their music-making allowed them to release translingual and transmodal play and creativity that might have otherwise been suppressed at school. We end with a call for literacy researchers and educators to continue to recognize and honor students’ lived translingual experiences, identities, and musical gifts as resources for learning.

Bill Dixon's Voice (Letter)

2015 ◽  
Vol 9 (2) ◽  
pp. 204-231
Author(s):  
ERIC PORTER
Keyword(s):  
Experimental Music ◽  
Artistic Production ◽  
Improvised Music ◽  
Wage Employment ◽  
Nuanced Understanding ◽  
And Performance ◽  
The 1960S ◽  
Critical Intervention ◽  
The City ◽  
The Voice

AbstractIn November 1966 composer and improviser Bill Dixon recorded a seventeen-minute-long “voice letter” to jazz writer Frank Kofsky. This letter may be analyzed as a critical intervention by Dixon, an attempt to change the context of interpretation around improvised music. But the voice letter may also be heard and analyzed as a kind of performance. As Dixon speaks, one can hear the rumbling and roar of the city as well as the staccato sounds of car and truck horns unfolding in dynamic counterpoint to his words. In this essay, I put the voice letter into dialogue with Dixon's personal history, his writings and interview statements, and some of his contemporaneous musical and multi-generic projects, especially his collaboration with dancer and choreographer Judith Dunn. I show how the letter maps Dixon's and Dunn's positions within a geography of intellectual circles, experimental artistic communities, and low-wage employment networks. By extension, I examine how the voice letter, as critical intervention and performance, points us to a nuanced understanding of black experimental music of the 1960s as a socially inflected, self-conscious and, ultimately, serious engagement with various modes of artistic production and thought, carried out under conditions of both precarity and inspiration.

The Peach Blossom Spring’s Long History as a Sacred Site in Northern Hunan

T oung Pao ◽  
2021 ◽  
Vol 107 (1-2) ◽  
pp. 1-39
Author(s):  
Mark Meulenbeld
Keyword(s):  
Religious Studies ◽  
Sixth Century ◽  
Hunan Province ◽  
Literary Canon ◽  
Sacred Site ◽  
History Of ◽  
A Site ◽  
Tao Qian

Abstract Though long seen uniquely from the perspective of the Chinese literary canon, Tao Qian’s 陶潛 (365?–427) famous “Record of the Peach Blossom Spring” (“Taohuayuan ji” 桃花源記) may find an even more fruitful disciplinary home in religious studies. The story refers itself to a grotto at Wuling 武陵 (present-day northern Hunan province), a site that has been associated with Daoist transcendents (shenxian 神仙) at least since the middle of the sixth century. A Daoist monastery on that same site, the Peach Spring Abbey (Taoyuan guan 桃源觀) or Peach Blossom Abbey (Taohua guan 桃花觀), became officially recognized in 748 and received imperial support not long after. This article studies the long history of Peach Spring as a sacred site, or, as Tao Qian referred to it in his poem, a “divine realm” (shenjie 神界).

Religious Syncretism and Art in the Nineteenth and Twentieth Centuries

2021 ◽  
Author(s):  
Ori Soltes
Keyword(s):  
18Th Century ◽  
Colonial Era ◽  
Religious Traditions ◽  
The Matrix ◽  
Religious Perspectives ◽  
Religious Syncretism ◽  
Spiritual Perspectives ◽  
The 1960S ◽  
The One ◽  
Anti Jewish

Religious and cultural syncretism, particularly in visual art in the Jewish and Christian traditions since the 19th century, has expressed itself in diverse ways and reflects a broad and layered series of contexts. These are at once chronological—arising out of developments that may be charted over several centuries before arriving into the 19th and 20th centuries—and political, spiritual, and cultural, as well as often extending beyond the Jewish–Christian matrix. The specific directions taken by syncretism in art is also varied: it may be limited to the interweave of two religious traditions—most often Jewish and Christian—in which most often it is the minority artist seeking ways to create along lines consistent with what is created by the majority. It may also interweave three or more traditions. It may be a matter of religion alone, or it may be a matter of other issues, such as culture or gender, which may or may not be obviously intertwined with religion. The term “syncretism” has, in certain specifically anthropological and theological circles, acquired a negative connotation. This has grown out of the increasing consciousness, since the 1960s, of the political implications of that term in the course of Western history, in which hegemonic European Christianity has addressed non-Christian religious perspectives. This process intensified in the Colonial era when the West expanded its dominance over much of the globe. An obvious and particularly negative instance of this is the history of the Inquisition as it first affected Jews in late-15th-century Spain and later encompassed indigenous peoples in the Americas, Asia, and Africa. While this issue is noted—after all, art has always been interwoven with politics—it is not the focus of this article. Instead “syncretism” will not be treated as a concept that needs to be distinguished from “hybridization” or “hybridity,” although different modes of syncretism will be distinguished. Syncretistic preludes to visual artists in the 19th and 20th centuries, suggesting some of the breadth of possibility, include Pico della Mirandola, Kabir, and Baruch/Benedict Spinoza. Specific religious developments and crises in Europe from the 16th century to the 18th century brought on the emancipation of the Jews in some places on the one hand, and a contradictory continuation of anti-Jewish prejudice on the other, the latter shifting from a religious to a racial basis. This, together with evident paradoxes regarding secular and spiritual perspectives in the work of key figures in the visual arts, led to a particularly rich array of efforts from Jewish artists who revision Jesus as a subject, applying a new, Jewishly humanistic perspective to transform this most traditional of Christian subjects. Such a direction continued to spread more broadly across the 20th century. The Holocaust not only raised new visual questions and possibilities for Jewish artists, but also did so from the opposite direction for the occasional Christian—particularly German—artist. Cultural syncretism sometimes interweaves religious syncretism—which can connect and has connected Christianity or Judaism to Eastern religions—and a profusion of women artists in the last quarter of the century has added gender issues to the matrix. The discussion culminates with Siona Benjamin: a Jewish female artist who grew up in Hindu and Muslim India, attended Catholic and Zoroastrian schools, and has lived in America for many decades—all these aspects of her life resonate in her often very syncretistic paintings.

Japanese Commemorations of World War II in the Mariana Islands

2017 ◽  
Author(s):  
Keith L. Camacho
Keyword(s):  
United States ◽  
World War Ii ◽  
The United States ◽  
Mariana Islands ◽  
World War ◽  
War Memories ◽  
The Creation ◽  
The 1960S ◽  
A Site

This chapter examines the creation and contestation of Japanese commemorations of World War II in the Mariana Islands. As an archipelago colonized by Japan and the United States, the Mariana Islands have become a site through which war memories have developed in distinct and shared ways. With respect to Japanese commemorations, the analysis demonstrates why and how they inform and are informed by Chamorro and American remembrances of the war in the Mariana Islands. By analyzing government, media, and tourist accounts of the war from the 1960s to the present, I thus show how we can gain an understanding and appreciation for the complex ways by which Japanese of various generations reckon with a violent past.

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