Part 1:
You’ve now been exposed to several theoretical and analytical models exploring the common characteristics and perspectives of Creolized Afro-Atlantic religions, spiritualities, and expressive behaviors (Ventura’s observations about “Funk” “Hot” “Cool” etc., Wehmeyer’s “5 P-s” and Olmos/Paravisini-Gebert’s “Shared Characteristics”)
Consider the music, dance, rituals, beliefs, narratives, and material culture that are expressed in the film The King does Not Lie. Links to the films can be found in this module.
In a short reflective essay (roughly 500-750 words (2-3 double spaced pages) – although more is acceptable), address the following questions:
Where in this film do you find evidence or examples of transculturation, creolization, or syncretism? If so, define those terms and explain where and how are these concepts or processes present (BE SPECIFIC… I want specific examples, explicitly described).
Where do you see these practices reflecting some of the characteristics and perspectives outlined in either Ventura’s essay, our conversation about the Five P-s or the list of shared characteristics from the Fernandez-Olmos/Paravisini-Gebert chapter? Again, be specific (identify specific instances in the rituals or the narratives in which you see specific characteristics operating).
I’m not asking you to identify all instances in the film where such things occur… only some. Show me you can take at least 3 of these theoretical concepts and illustrate them with specific examples from the film. Show me you can take phenomena in a particular instance of cultural expression (like the traditions depicted in the film) and understand them/describe them using theoretical language. To be able to do this is to demonstrate the fundamental work of cultural analysis / cultural theory. Without this fundamental skill, it will be hard to move forward.
Part 2:
Now that you’ve had a chance to read a substantial portion of Wafer and explore documentaries like Barbara and her friends in Candombleland, use what you know about Candomble and its communities to discuss the practices, beliefs, and personal narratives articulated by the young people in Barbara and her friends…
How is their experience different from Wafer’s (while the age difference is pretty obvious, it’s still worth examining and exploring). What is it like to be raised in and with these traditions? How do the children describe their relationship to the community and the religion (hint – there’s a very specific phrase many of them use… talk about this).
What are some of the more striking elements or experiences that you’ve encountered in the text and in the film (use at least one example from each)?
Mostly I just want to know what you’re thinking… what intrigues you? What connections can you draw between this material and your *other* COR 330 class material (if applicable).
Part3:
For the Arts of the Crossroads assignment, your first task is to select three (3) to four (4) visual images, material objects or other examples of expressive culture (songs, foodways, dressways, dance movements, popular culture, etc.) associated with Afro-Atlantic Religions that you wish to compare, contrast, and discuss. At least 2 of these should be drawn from specifically Brazilian traditions (Candomble/Umbanda).
These can be (but are not limited to) :
1) expressions of the identity and meaning of a particular Orixa or Spirit (i.e. a ponto riscado for Exu, a couple of Songs for Exu, a description of a possession trance involving Exu, a statue of Ze Pelintra, or a contemporary artist’s depiction of Pomba Gira)
2) OR they can be all of one type – but focused on different spirits or Orixa – (i.e. a discussion of 4 different visual images, songs, etc.)
3) OR they can involve alternative ways of thinking about the meanings made in Afro-Brazilian or broader Afro-Atlantic culture through the arts (i.e. Afro-Atlantic ritual arts and their representation in – say – Disney movies) … the sky is kind of the limit here… but you’re going to need to familiarize yourself with the material in the archives referenced in this (as well as the material presented in the course texts and readings).
Your second task is to write an essay where you CONTEXUTALIZE, COMPARE, AND CONTRAST -then CONNECT these images, objects or other expressive forms.
1) First put them in proper CONTEXT… tell your reader everything you know about them in historical and cultural context – you’re probably gonna have to do a bit of extra research to do this properly.
2) COMPARE them to one another (and/or to other forms of expressive culture) how are they similar, what common themes or common concepts do they express, what common traits do they have… where are the similarities?
3) CONTRAST them (if contrast is appropriate) – How are these expressive forms different from one another? What do those differences entail and why are they important?
4) CONNECT these objects, images, movements, foodways or other expressive forms in terms of the theoretical concepts we’ve explored in course readings – everything from Ventura, Paravisini-Gebert/Fernandez-Olmos, Wafer, (et. al). It’s all fair game here… just make substantive connections between specific examples and general theoretical concepts…
Your job is to write a 5-8 page essay (double spaced) that accomplishes the work described above – longer is both fine, and, in fact, preferred.
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