As one of the salient forces in the ritual life of those who worship the pre-Christian and Muslim deities called orishas, the Yoruba god of drumming, known as Ayan in Africa and Ana in Cuba, is variously described as the orisha of drumming, the spirit of the wood, or the more obscure Yoruba praise name AsoroIgi (Wood That Talks). With the growing global importance of orisha religion and music, the consequence of this deity's power for devotees continually reveals itself in new constellations of meaning as a sacred drum of Nigeria and Cuba finds new diasporas. Despite the growing volume of literature about the orishas, surprisingly little has been published about the ubiquitous Yoruba music spirit. Yet wherever one hears drumming for the orishas, Ayan or Ana is nearby. This groundbreaking collection addresses the gap in the research with contributions from a cross-section of prestigious musicians, scholars, and priests from Nigeria, the Americas, and Europe who have dedicated themselves to studying Yoruba sacred drums and the god sealed within. As well as offering multidisciplinary scholarly insights from transatlantic researchers, the volume includes compelling first-hand accounts from drummer-priests who were themselves history-makers in Nigerian and Cuban diasporas in the United States, Venezuela, and Brazil. This collaboration between diverse scholars and practitioners constitutes an innovative approach, where differing registers of knowledge converge to portray the many faces and voices of a single god.

How do those on the margins of modernity face the challenges of globalization? This book demonstrates that secrecy is one of the means by which a society on the fringe of modernity produces itself as locality. Focusing on initiation rituals, masked performances and modern art, this study shows that rituals and performances long deemed obsolete, serve the insertion of their performers in the world at their own terms. The Jola and Mandinko people of the Casamance region in Senegal have always used their rituals and performances to incorporate the impact of Islam, colonialism, capitalism, and contemporary politics. Their performances of secrecy have accommodated these modern powers and continue to do so today. The performers incorporate the modern and redefine modernity through secretive practices. Their traditions are not modern inventions, but traditional ways of dealing with modernity. This book will interest anthropologists, historians, political scientists and all those studying how globalisation affects peripheral societies. It shows that secrecy, performed as a weapon of the weak, empowers their performers. Secrecy serves to mark boundaries and define the local in the global.

Ethnographers of religion have created a vast record of religious behavior from small-scale non-literate societies to globally distributed religions in urban settings. So a theory that claims to explain prominent features of ritual, myth, and belief in all contexts everywhere causes ethnographers a skeptical pause. In Ritual and Memory, however, a wide range of ethnographers grapple critically with Harvey Whitehouse's theory of two divergent modes of religiosity. Although these contributors differ in their methods, their areas of fieldwork, and their predisposition towards Whitehouse's cognitively-based approach, they all help evaluate and refine Whitehouse's theory and so contribute to a new comparative approach in the anthropology of religion.

Ethnographers of religion have created a vast record of religious behavior from small-scale non-literate societies to globally distributed religions in urban settings. So a theory that claims to explain prominent features of ritual, myth, and belief in all contexts everywhere causes ethnographers a skeptical pause. In Ritual and Memory, however, a wide range of ethnographers grapple critically with Harvey Whitehouse's theory of two divergent modes of religiosity. Although these contributors differ in their methods, their areas of fieldwork, and their predisposition towards Whitehouse's cognitively-based approach, they all help evaluate and refine Whitehouse's theory and so contribute to a new comparative approach in the anthropology of religion.

"Peel is by training an anthropologist, but one possessed of an acute historical sensibility. Indeed, this magnificent book achieves a degree of analytical verve rare in either discipline." History Today

" T]his is scholarship of the highest quality.... Peel lifts the Yoruba past to a dimension of comparative seriousness that no one else has managed.... The book teems with ideas... about big and compelling matters of very wide interest." T. C. McCaskie

In this magisterial book, J. D. Y. Peel contends that it is through their encounter with Christian missions in the mid-19th century that the Yoruba came to know themselves as a distinctive people. Peel s detailed study of the encounter is based on the rich archives of the Anglican Church Missionary Society, which contain the journals written by the African agents of mission, who, as the first generation of literate Yoruba, played a key role in shaping modern Yoruba consciousness. This distinguished book pays special attention to the experiences of ordinary men and women and shows how the process of Christian conversion transformed Christianity into something more deeply Yoruba."

As one of the salient forces in the ritual life of those who worship the pre-Christian and Muslim deities called orishas, the Yoruba god of drumming, known as Ayan in Africa and Ana in Cuba, is variously described as the orisha of drumming, the spirit of the wood, or the more obscure Yoruba praise name AsoroIgi (Wood That Talks). With the growing global importance of orisha religion and music, the consequence of this deity's power for devotees continually reveals itself in new constellations of meaning as a sacred drum of Nigeria and Cuba finds new diasporas. Despite the growing volume of literature about the orishas, surprisingly little has been published about the ubiquitous Yoruba music spirit. Yet wherever one hears drumming for the orishas, Ayan or Ana is nearby. This groundbreaking collection addresses the gap in the research with contributions from a cross-section of prestigious musicians, scholars, and priests from Nigeria, the Americas, and Europe who have dedicated themselves to studying Yoruba sacred drums and the god sealed within. As well as offering multidisciplinary scholarly insights from transatlantic researchers, the volume includes compelling first-hand accounts from drummer-priests who were themselves history-makers in Nigerian and Cuban diasporas in the United States, Venezuela, and Brazil. This collaboration between diverse scholars and practitioners constitutes an innovative approach, where differing registers of knowledge converge to portray the many faces and voices of a single god.

With a free ebook version of this title is available through Luminos, University of California Press's open access publishing program for monographs. The Yoruba of southwestern Nigeria are exceptional for the copresence among them of three religious traditions: Islam, Christianity, and the indigenous orisa religion. In this comparative study, at once historical and anthropological, Peel explores the intertwined character of the three religions and the dense imbrication of religion in all aspects of Yoruba history up to the present. For over 400 years, the Yoruba have straddled two geocultural spheres: one reaching north over the Sahara to the world of Islam, the other linking them to the Euro-American world via the Atlantic. These two external spheres were the source of contrasting cultural influences, notably those emanating from the world religions. However, the Yoruba not only imported Islam and Christianity but also exported their own orisa religion to the New World. Before the voluntary modern diaspora that has brought many Yoruba to Europe and the Americas, tens of thousands were sold as slaves in the New World, bringing with them the worship of the orisa. Peel offers deep insight into important contemporary themes such as religious conversion, new religious movements, relations between world religions, the conditions of religious violence, the transnational flows of contemporary religion, and the interplay between tradition and the demands of an ever-changing present. In the process, he makes a major theoretical contribution to the anthropology of world religions.

This book explores the roles of contemporary urban shrines and their visual traditions in Benin City. It focuses on the charismatic priests and priestesses who are possessed by a pantheon of deities, the communities of devotees, and the artists who make artifacts for their shrines. The visual arts are part of a wider configuration of practices that include song, dance, possession and healing. These practices provide the means for exploring the relationships of the visual to both the verbal and performance arts that feature at these shrines. The analysis in this book raises fundamental questions about how the art of Benin, and non-Western art histories more generally, are understood. The book throws critical light on the taken-for-granted assumptions which underpin current interpretations and presents an original and revisionist account of Benin art history.