The Ancestor Cult

2021 ◽  
pp. 259-282
Author(s):  
Manuel Zapata Olivella ◽  
Jonathan Tittler
Keyword(s):  
2021 ◽  
Vol 27 (3) ◽  
pp. 202-209
Author(s):  
Nina D. Lyakhovskaya

The article examines the attitude of contemporary African writers to the traditional zoomorphic and anthropomorphic masks. In the 1960s–70s, for the supporters of the theory of negritude, the sacred mask embodied the spirit of ancestors and an inextricable connection with tradition. In a transitional era (the 1990s – the early 21st century), the process of desacralisation of the mask has been observed and such works appear in which the idea of the death of tradition is carried out. The article consistently examines the history of the emergence and strengthening of interest in the image of the African mask as the most striking symbol of African traditions on the part of cultural, art and scientific workers and the reflection of this symbol in the works of representatives of Francophone literature in West and Central Africa in different periods of time. The article concludes about the transformation of the views of the studied writers on the future of African traditions from an enthusiastic and romantic (as, for example, in the lyrics of Léopold Sédar Senghor or Samuel-Martin Eno Belinga) attitude to the images of the African past and tradition – masks, ancestor cult – to despair and bitterness from the awareness of the desacralisation of traditional objects and images and the profanation of tradition under the pressure of the realities of the present day (drama by Koffi Kwahulé). The attitude of African writers to the image of the mask, which is directly related to the themes of preserving traditions and the search of their identity by African literary heroes, is gradually changing, demonstrating the pessimistic view of Francophone African writers on the future of African traditions.


A pre-Columbian building decorated with polychrome mural paintings was recently discovered at the site of Pachacamac, near Lima. Hundreds of offerings were scattered across the rooms and corridors of the building. They included extremely diverse objects from across the Andean region: parrot feather adornments and seeds from the Amazon; black stones from the mountains, chosen for their unusual shapes; unmodified and sculpted shells from the Equatorial region; ornate cups inlaid with mother-of-pearl in the style of the Northern Coast; metal; Inca ceramics, etc. In this chapter, the use of this peculiar building—probably a kind of sanctuary—and its links with pilgrimage, healing practices, and ancestor cult are discussed. Most of the offerings were placed within and around the structure at the moment of its abandonment following the Spanish invasion. The possible meanings and causes of such an unusual ritual are reviewed and discussed.


Africa ◽  
1968 ◽  
Vol 38 (1) ◽  
pp. 26-46 ◽  
Author(s):  
W. D. Hammond-Tooke

Opening ParagraphThis paper had its genesis in an attempt to understand certain aspects of the ancestor cult of the Mpondomise, a Cape Nguni people of the Transkei, South Africa. Like all Southern Bantu, the Mpondomise have only a vague idea of a supreme being and effective ritual behaviour is directed towards the shades of deceased agnatic forebears, the izinyanya. It was immediately obvious that any understanding, particularly of the structural aspects of the cult, depended on a clear picture of the lineage, of what is, in effect, its ‘congregation’ (in the Durkheimian sense). It is an anthropological truism that ancestor cults exhibit to a high degree that congruence between ritual behaviour and social structure emphasized by Durkheim. In strong contrast to the universalistic world religions, recruitment to the cult group is in terms of a kinship idiom, either through birth, marriage, or adoption, the beings to whom worship is directed are highly differentiated and structurally defined, and their sphere of influence is similarly bounded. There is evidence that the ancestor cult is inversely correlated with a highly developed cult of a supreme being and that sacrifice to the manes tends to symbolize commensalism (as one would expect with erstwhile kinsmen) rather than the explicit identification of the worshipper with the offering found, for example, both among the Nuer, with their conceptualization of an omnipotent High God, and, in some of its symbolism at least, in the Christian Eucharist. Be this as it may, ancestor cults have been particularly congenial to the structural interests of modern social anthropologists and the growing number of detailed studies has greatly increased our knowledge of this religious form. It was thus essential, as a preliminary exercise, to define the congregation of the cult, the locus of ritual authority within it, and the relationship of the living members of the group to the dead.


2021 ◽  
Vol 6 ◽  
pp. 249-290
Author(s):  
Michael Delacruz

What follows is a geospatial analysis of the sacred landscape of Ancient Salamis, an island polity located in the Saronic Gulf, which has been traditionally identified as the seat of the House of Telamon, from where Ajax the Greater (Αἴας ὁ Τελαμώνιος) reputedly launched his expedition to support the campaign against Troy (Iliad. 2.557). In particular, this analysis focuses on the relationship between two sanctuaries purported to be dedicated to Ajax and possibly coexisting during the late Classical and early Hellenistic periods (Figure 1): the first, the principal Temple of Ajax (ναὸς Αἴαντος) reported by Pausanias (Hell. Per. 1.35.3) to have been located at the Classicalperiod town at the Bay of Ampelakia; and the second, situated at a rural location some 12km away amidst the remains of a Mycenaean citadel at Kanakia and neighboring cult precinct at Pyrgiakoni at the far western side of the island excavated and identified by Yannos Lolos in 2005 (Lolos 2012: 47ff).1 Strong archaeological evidence suggests that this rural location (Figure 2) was the site of chthonic votive practice (ibid.: 49) often associated with hero or ancestor cult during the later Classical and Hellenistic periods and during a time when Athenian affiliation with the island and the figure of Ajax was officially sanctioned as a consequence of the political re-engineering of the Athenian polis under Kleisthenes.


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