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ritual</title> <meta name="description" content="Search results for: cultural ritual"> <meta name="keywords" content="cultural ritual"> <meta name="viewport" content="width=device-width, initial-scale=1, minimum-scale=1, maximum-scale=1, user-scalable=no"> <meta charset="utf-8"> <link href="https://cdn.waset.org/favicon.ico" type="image/x-icon" rel="shortcut icon"> <link href="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/css/bootstrap.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/plugins/fontawesome/css/all.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/css/site.css?v=150220211555" rel="stylesheet"> </head> <body> <header> <div class="container"> <nav class="navbar navbar-expand-lg navbar-light"> <a class="navbar-brand" href="https://waset.org"> <img src="https://cdn.waset.org/static/images/wasetc.png" alt="Open Science Research Excellence" title="Open Science Research Excellence" /> </a> <button class="d-block d-lg-none navbar-toggler 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id="custom-search-input"> <div class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="cultural ritual"> <input type="submit" class="btn_search" value="Search"> </div> </div> </form> </div> </div> <div class="row mt-3"> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Commenced</strong> in January 2007</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Frequency:</strong> Monthly</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Edition:</strong> International</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Paper Count:</strong> 3966</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: cultural ritual</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">3966</span> From Service to Ritual: Preliminary Development on Conceptual Framework for Designing Ritual</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yi-Jing%20Lee">Yi-Jing Lee</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Prior to the development of ritual design tool and framework, this paper establishes a systematic review on the studies related to ritual and ritual design across anthropology, consumer culture, marketing, and design. It is found that following symbolic anthropologists, the ethnographic approach was adapted by consumer culture researchers to study modern rituals and marketers to enhance consumption. In the domain of design, although there are already designers aware of the importance of ritualistic dimension of human interaction, there are little frameworks for conceptualizing and developing rituals. The conceptualized framework and developing tools is proposed and suggestions of applying it is made in the end of the paper. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=ritual" title="ritual">ritual</a>, <a href="https://publications.waset.org/abstracts/search?q=ritual%20design" title=" ritual design"> ritual design</a>, <a href="https://publications.waset.org/abstracts/search?q=service%20design" title=" service design"> service design</a>, <a href="https://publications.waset.org/abstracts/search?q=symbolic%20interaction" title=" symbolic interaction"> symbolic interaction</a> </p> <a href="https://publications.waset.org/abstracts/92321/from-service-to-ritual-preliminary-development-on-conceptual-framework-for-designing-ritual" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/92321.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">193</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">3965</span> Pahlevāni and Zoorkhāneh Rituals as Creative Cultural Product in Tourism; Case Study: Isfahan, Iran</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Neda%20Torabi%20Farsani">Neda Torabi Farsani</a>, <a href="https://publications.waset.org/abstracts/search?q=Mohammad%20Mortazavi"> Mohammad Mortazavi</a>, <a href="https://publications.waset.org/abstracts/search?q=Maryam%20Masaeli"> Maryam Masaeli</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Nowadays intangible heritage as a creative product plays an important role in promoting tourism. The intangible heritage is transmitted from past generation to the present and future generation and constantly recreated by communities and groups in response to their environment, nature and history. In recent decade, intangible heritage especially Pahlevāni and Zoorkhāneh rituals as creative cultural product attract many tourists to a destination and they well-known as tourist attractions in Iran. The study was conducted in Isfahan city. This research has two major purposes: 1) to introduce Pahlevāni and Zoorkhāneh ritual as tourist attraction and, 2) to investigate the attitude of domestic tourists towards Pahlevāni and Zoorkhāneh ritual in Isfahan city. On the basis of the results of this study, it can be concluded that the domestic tourists are interested in gaining experience and increasing their knowledge in Pahlevāni and Zoorkhāneh ritual. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Isfahan" title="Isfahan">Isfahan</a>, <a href="https://publications.waset.org/abstracts/search?q=Pahlev%C4%81ni%20and%20Zoorkh%C4%81neh%20ritual" title=" Pahlevāni and Zoorkhāneh ritual"> Pahlevāni and Zoorkhāneh ritual</a>, <a href="https://publications.waset.org/abstracts/search?q=tourist%20attitude" title=" tourist attitude"> tourist attitude</a>, <a href="https://publications.waset.org/abstracts/search?q=Iran" title=" Iran"> Iran</a> </p> <a href="https://publications.waset.org/abstracts/84233/pahlevani-and-zoorkhaneh-rituals-as-creative-cultural-product-in-tourism-case-study-isfahan-iran" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/84233.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">196</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">3964</span> Issues of Time's Urgency and Ritual in Children's Picture Books: A Closer Look at the Contributions of Grandparents</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Karen%20Armstrong">Karen Armstrong</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Although invisible and fleeting, time is an essential variable in perception. Ritual is proposed as an antithesis to the passage of time, a way of linking our narratives with the past, present and future. This qualitative exploration examines a variety of award winning twentieth-century children’s picture books, specifically regarding the issues of time’s urgency and ritual with respect to children and grandparents. The paper will begin with a consideration of issues of time from the area of psychology, with regard to age, specifically contrasting later age and childhood. Next the value of ritual as represented by the presence of grandparents in children’s books. Specific instances of the contributions of grandparents or older adults with regard to this balancing function between time’s urgency and ritual will be discussed. Recommendations for future research include a consideration of grandparents’ or older characters’ depictions in books for older children. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=children%27s%20picture%20books" title="children's picture books">children's picture books</a>, <a href="https://publications.waset.org/abstracts/search?q=grandparents" title=" grandparents"> grandparents</a>, <a href="https://publications.waset.org/abstracts/search?q=ritual" title=" ritual"> ritual</a>, <a href="https://publications.waset.org/abstracts/search?q=time" title=" time"> time</a> </p> <a href="https://publications.waset.org/abstracts/65775/issues-of-times-urgency-and-ritual-in-childrens-picture-books-a-closer-look-at-the-contributions-of-grandparents" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/65775.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">304</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">3963</span> Viewers’ Reactions to Excessive Ritual Themes in Nigerian Home Videos: A Portharcourt City Survey</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Godwin%20Bassey%20Okon">Godwin Bassey Okon</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The need to streamline viewers’ disposition towards the predominant portrayal of rituals, in most Nigerian home videos, as a way of life in the southern part of Nigeria necessitated this study. The focus however was on ascertaining if such portrayals dovetail within the framework of construction of social reality or misconstruction of social reality. In other words, do the people of the southern part of Nigeria engage in rituals as a means of acquiring wealth or do they merely have proclivity for diabolism, as frequently portrayed in home videos subsumed in their socio-cultural settings? The method of study was survey with the questionnaire as the predominant instrument. The questionnaire was used to elicit responses from Portharcourt city residents on their views and reactions in the light of ritual themes in Nigerian home videos. The choice of Portharcourt was informed by the fact that it is a foremost cosmopolitan city in the south. A Sample size of 400 was drawn from a population of 1,382,392 using Taro Yamane’s formula. Actual respondents were reached using a multi-stage cluster sampling technique. The reliability of the instrument as ascertained through Pearson’s Product Moment Correlation stood at 0.89. Findings however revealed that ritual themes, as used in Nigerian home videos, did not significantly reflect the cultural heritage of the people of southern Nigeria. Findings further showed that their excessive use in Nigerian home videos served only to create frills and thrills in plots. A synthesis of the foregoing, however, revealed that viewers are not favourably disposed towards the excessive use of ritual themes since they inadvertently portray the cultural heritage of the people of the south in the negative. To this end, it was recommended that producers of Nigerian home videos should focus more on themes that serve to construct social reality while projecting favorably the rich cultural heritage of the people. In terms of contribution to knowledge, the findings of this study tend to reinforce the notion of film as a conveyor belt in cognitive constructs. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=disposition" title="disposition">disposition</a>, <a href="https://publications.waset.org/abstracts/search?q=home%20videos" title=" home videos"> home videos</a>, <a href="https://publications.waset.org/abstracts/search?q=ritual" title=" ritual"> ritual</a>, <a href="https://publications.waset.org/abstracts/search?q=social%20reality" title=" social reality"> social reality</a>, <a href="https://publications.waset.org/abstracts/search?q=themes" title=" themes"> themes</a> </p> <a href="https://publications.waset.org/abstracts/22153/viewers-reactions-to-excessive-ritual-themes-in-nigerian-home-videos-a-portharcourt-city-survey" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/22153.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">381</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">3962</span> The Mayan Calendar: An Ideology Laden and Worldview Changing Discourse</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=John%20Rosswell%20Cummings%20III">John Rosswell Cummings III</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This research examines the discourse ancient Maya ritual practice manifest and maintained through language in a contemporary society as led by a daykeeper— a Maya spiritual leader— with the objective of discovering if the Maya Calendar has an influence on worldview. Through an ethnography of communication and discursive analysis framework, this research examines the discourse of and around the Maya calendar through original research. Data collected includes the ceremonial performance of the Tzolkin ritual, a ritual that takes place every 13 days to ceremonially welcome one of the 20 Universal Forces. During the ceremony, participants supplicate, sacrifice, and venerate. This ritual, based off the Tzolkin cycle in the Mayan Calendar, contains strong, culture-binding ideologies. This research performs a close analysis of the 20 energies of the Tzolkin and their glyphs so as to gain a better understanding of current ideologies in Maya communities. Through a linguistic relativity frame of reference, including both the strong and weak versions, the 20 Universal Forces are shown to influence ways of life. This research argues that it is not just the native language, but the discourses native to the community as held through the calendar, influence thought and have the potential to offer an alternate worldview, thus shaping the cultural narrative which in return influences identity of the community. Research of this kind, on calendric systems and linguistic relativity, has the power to make great discoveries about the societies of the world and their worldviews. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=anthropological%20linguistics" title="anthropological linguistics">anthropological linguistics</a>, <a href="https://publications.waset.org/abstracts/search?q=discourse%20analysis" title=" discourse analysis"> discourse analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20studies" title=" cultural studies"> cultural studies</a>, <a href="https://publications.waset.org/abstracts/search?q=sociolinguistics" title=" sociolinguistics"> sociolinguistics</a> </p> <a href="https://publications.waset.org/abstracts/96828/the-mayan-calendar-an-ideology-laden-and-worldview-changing-discourse" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/96828.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">147</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">3961</span> Rhythmic Sound: Presence and Significance: A Study of the Yue Drum Used in the Han Chinese Shigong Ritual in Guangxi, China</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Li-Jun%20Zheng">Li-Jun Zheng</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The use of drums as an accompanying instrument is a common phenomenon in traditional Chinese folk rituals and musical culture. Especially, some folk rituals construct ritual-related sounds and give them ritual-specific symbolic and meaningful systems through the combination and use of multiple percussion instruments. The Yue drum(岳鼓), an asymmetrically shaped thin waist drum, is currently used in Han Chinese Shigong（师公）rituals in Guangxi, China, and is an important ritual instrument in Shigong rituals. This paper examines the use of the Yue drum and other percussion instruments in Han Chinese Shigong rituals in Guangxi, China, and shows the current status of combining instrumental accompaniment forms with human voices in Shigong rituals. Through further analysis of the musical and dance forms of Han Chinese Shigong rituals, this paper shows how Han Chinese Shigong ritual performers construct the ritual field through "sound-human-dance" and further explains the relationship between the existing and fictitious performance fields in the rituals. In addition, this paper demonstrates the relationship between Han Chinese Shigong rituals and the religious beliefs they involve, such as Taoism and Buddhism. And it further explores how performers in Han Chinese Shigong rituals use Yue drums for the dual purpose of "entertaining the gods" and "entertaining the people". <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=sound%20research" title="sound research">sound research</a>, <a href="https://publications.waset.org/abstracts/search?q=the%20Han%20Chinese%20Shigong%20ritual" title=" the Han Chinese Shigong ritual"> the Han Chinese Shigong ritual</a>, <a href="https://publications.waset.org/abstracts/search?q=the%20thin%20waist%20drum" title=" the thin waist drum"> the thin waist drum</a>, <a href="https://publications.waset.org/abstracts/search?q=folk%20beliefs" title=" folk beliefs"> folk beliefs</a>, <a href="https://publications.waset.org/abstracts/search?q=ritual%20music" title=" ritual music"> ritual music</a> </p> <a href="https://publications.waset.org/abstracts/178218/rhythmic-sound-presence-and-significance-a-study-of-the-yue-drum-used-in-the-han-chinese-shigong-ritual-in-guangxi-china" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/178218.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">65</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">3960</span> The Feminine Speech and the Ritual of Death in Albania</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Aida%20Lamaj">Aida Lamaj</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Death is an inevitable phenomenon in our life, in the same way, are also the ritual of death accompanied by the dirge and the keening performed by men. Keening is a phenomenon common among all peoples, the instances in which the ritual of death and keening coincide, as a special phenomenon of its, are numerous given the fact that keening is an outcome of an extremely special emotional state. However, even during the ritual of death, every people try to display through words its qualities, a multitude of characteristics preserved and transmitted with fanaticism from one generation to the other. The ritual of death constitutes an important element of our tradition and at the same time a material always interesting to be studied in minute details. In this study, we have tried to limit ourselves to the feminine speech, since keening, in general in Albania has been carried out by women. Differences and similarities among keening on the national scale, from the diachronic and synchronic point of view, can be seen clearly if we compare the Albanian creations in different regions. The similarities and differences within the Albanian culture serve as a typical paradigm to study how the ancient elements of outlook that the Albanians have had on death, history, and the social organization in these regions have been preserved and transmitted and above all, in what way these feelings have been clothed from the linguistic point of view, the typologies of keening and of all of the ritual of death, which clearly shows archaic forms as well as new developments. These data have been gathered not only by conducting various surveys but also by observing closely the linguistic behavior of women in Albania during the ritual of death. The study has encompassed the popular lyric poetry as well as new entries, whereas from the geographic point of view we focus mainly in the Southern regions, although examples from other regions where Albanian speaking people live are also present. The main results of the study show that women use much more than men dialect form, peripheral language elements and descriptive elements during their speech in the ritual of death. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=feminine%20speech%20in%20Albania" title="feminine speech in Albania">feminine speech in Albania</a>, <a href="https://publications.waset.org/abstracts/search?q=linguistic%20characteristics%20of%20the%20dirge" title=" linguistic characteristics of the dirge"> linguistic characteristics of the dirge</a>, <a href="https://publications.waset.org/abstracts/search?q=ritual%20of%20death" title=" ritual of death"> ritual of death</a>, <a href="https://publications.waset.org/abstracts/search?q=the%20typologies%20of%20keening" title=" the typologies of keening"> the typologies of keening</a> </p> <a href="https://publications.waset.org/abstracts/93316/the-feminine-speech-and-the-ritual-of-death-in-albania" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/93316.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">162</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">3959</span> Repercussions of Ritual Dances to Personal Adjustment: A Perspicacious Study Among School Children</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Abdul%20Rahiman%20Kannam%20Kulam">Abdul Rahiman Kannam Kulam </a> </p> <p class="card-text"><strong>Abstract:</strong></p> Reflecting the concepts of the development of the whole child, it is claimed that, purposeful engagement in physical activities or exercise involved ritual dances has the potential to engender in young people, the purpose of the present study was to analyze school children and their personal adjustment based on Ritual dance participation. For the purpose, two thousand and three hundred school children of Kerala were analyzed. AISS manual of A.K.P Sinha and R.P Singh was used to collect the data for adjustments. The adjustment qualities classifies as excellent, good, average, unsatisfactory and very unsatisfactory. The total performance denotes the state of adjustment based on the classifications. Findings of the study were subjected to percentages and ‘t’ ratio. The study enlightened that, the emotional, social and overall adjustments are better than non-athletes. But the study elucidated that, there is no difference in educational adjustment of school athletes and non athletes among school children. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=ritual%20dances" title="ritual dances">ritual dances</a>, <a href="https://publications.waset.org/abstracts/search?q=emotional%20adjustment" title=" emotional adjustment"> emotional adjustment</a>, <a href="https://publications.waset.org/abstracts/search?q=Poorakkali" title=" Poorakkali"> Poorakkali</a>, <a href="https://publications.waset.org/abstracts/search?q=Kolkkali" title=" Kolkkali"> Kolkkali</a>, <a href="https://publications.waset.org/abstracts/search?q=Margamkali" title=" Margamkali"> Margamkali</a> </p> <a href="https://publications.waset.org/abstracts/4038/repercussions-of-ritual-dances-to-personal-adjustment-a-perspicacious-study-among-school-children" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/4038.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">345</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">3958</span> The Book of Lies: The Christian Bible's Colonialism over and Appropriation of Occultism</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Samantha%20Huff">Samantha Huff</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This research seeks to examine the relationship between occultism and the traditional religion of Christianity. The focus of this particular project is to deconstruct occultism and occult religion: how it develops, where it is applied, how and when it is applied. The next step is to make connections between the structure of occultism and the structure of Christianity. Do Christianity and the Occult appear, textually, the same way? What does that mean culturally? This project seeks to examine the historical similarities of occultism and Christianity practices and tradition, and how, as a whole, Christianity appropriates and colonializes occultism through examination into the Christian Bible and popular occult texts: The Book of the Law by Aleister Crowley and The Secret Doctrine: The Synthesis of Science, Religion, and Philosophy by Helena Petrovna Blavatsky. Through examining occultism and Christianity and applying it to popular cultural theories (Ritual Space by Nick Couldry, Muted Group Theory by Shirley Ardener, and Mythologies by Roland Barethes), it is entirely possible to see how Christianity appropriates occultism and uses their stronghold on society as a means to colonialize occult traditions and practices. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=appropriation" title="appropriation">appropriation</a>, <a href="https://publications.waset.org/abstracts/search?q=Christianity" title=" Christianity"> Christianity</a>, <a href="https://publications.waset.org/abstracts/search?q=colonialism" title=" colonialism"> colonialism</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20theory" title=" cultural theory"> cultural theory</a>, <a href="https://publications.waset.org/abstracts/search?q=muted%20group%20theory" title=" muted group theory"> muted group theory</a>, <a href="https://publications.waset.org/abstracts/search?q=mythologies" title=" mythologies"> mythologies</a>, <a href="https://publications.waset.org/abstracts/search?q=occultism" title=" occultism"> occultism</a>, <a href="https://publications.waset.org/abstracts/search?q=ritual%20space" title=" ritual space"> ritual space</a> </p> <a href="https://publications.waset.org/abstracts/133808/the-book-of-lies-the-christian-bibles-colonialism-over-and-appropriation-of-occultism" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/133808.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">153</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">3957</span> An as-If Ritual and Its Discontents: Everyday Life of North Korean Migrant Women in South Korea</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sojung%20Kim">Sojung Kim</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper explores how the Partition of Korea is absorbed into everyday life through North Korean migrant women’s rituals for traditional holidays in Korea. In national holidays called myungjul, Koreans traditionally visit their paternal ancestor’s hometowns to hold jesa, the rites for the ancestors, at the graves and home. Due to the physical gaps in the kinship networks, marked by the kin left behind in North Korea, North Korean migrants gather among themselves in the neighborhood in South Korea as if they make the myungjul ritual of the family gatherings. This impossibility of the proper practice of the rites insinuates the violence of the Partition refracted into the family relations between those in the South and those in the North. Yet, the myungjul gathering creates a kind of collective hometown, beside one’s genealogical hometown, where they can express lamentation and guilt over not being able to visit their parents and ancestors in their hometowns, which they are traditionally required to do. In this as-if ritual, myungjul is re-created for and by the women and for others in the community. Yet, the texture of this ritual is marked by discontent and dissatisfaction. Attending to fostering discontents that seep into the collective events, this paper aims to seek ways to study the violence that permeated in everyday life in partitioned Korea. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=as-if%20ritual" title="as-if ritual">as-if ritual</a>, <a href="https://publications.waset.org/abstracts/search?q=everyday%20life" title=" everyday life"> everyday life</a>, <a href="https://publications.waset.org/abstracts/search?q=kinship" title=" kinship"> kinship</a>, <a href="https://publications.waset.org/abstracts/search?q=migration" title=" migration"> migration</a> </p> <a href="https://publications.waset.org/abstracts/129546/an-as-if-ritual-and-its-discontents-everyday-life-of-north-korean-migrant-women-in-south-korea" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/129546.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">146</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">3956</span> From Ritual to Entertainment: Echoes of Realism and Creativity in Costumes of Masquerades in New Nigerian Festivals</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Bernard%20Eze%20Orji">Bernard Eze Orji</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The masquerade, which is the most popular indigenous art form in Africa, is obviously identified by its elaborate, weird, and opulent costumes. The costume is the major essential accouterments in the art of the masquerade. From time past, masquerades have performed and enjoyed the freedom associated with its inscrutability and mystification solely because of its costumes. Noninitiates and women watched masquerades from a distance due to the reverence attached to its costumes and performances. In fact, whether in performance or as an item of art, the masquerade costume was seen as an embodiment of a tradition of liveliness, showiness, secrecy, and sacredness. This liveliness and showiness transformed masked characters who are believed to be possessed by spirits of ancestors and animals that inhabited the costumes. However, with the translocation of masquerade in new festivals such as carnival and state-sponsored cultural days, its costumes have been reduced to a mere item of entertainment and aesthetic values. The sacredness and reverence which hitherto elevated masquerade art to the point of wonderment have given way to an aesthetic appreciation of ingenious and individual creativity deployed in these festivals. This is as a result of the realistic and artistic creations that pervade masquerade costumes and masks in these festivals. It is a common sight to see such masquerades of animal and human genera like a lion, elephant, hippopotamus, and antelope; Agbogho Mmuo, Adamma, and Nchiekwa, respectively. This creative flair has emerged to expunge the ritual narratives associated with masquerades in the past. The study utilized performance analysis and aesthetic theory to establish that the creative ingenuity deployed by fine artists and mask designers who combine traditional artifacts to achieve modern masterpieces for the masquerades of the new festivals have reduced the ritual trappings and hype ascribed to masquerades in indigenous societies. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=costume%20and%20mask%20designs" title="costume and mask designs">costume and mask designs</a>, <a href="https://publications.waset.org/abstracts/search?q=entertainment" title=" entertainment"> entertainment</a>, <a href="https://publications.waset.org/abstracts/search?q=masquerade" title=" masquerade"> masquerade</a>, <a href="https://publications.waset.org/abstracts/search?q=ritual" title=" ritual"> ritual</a> </p> <a href="https://publications.waset.org/abstracts/113845/from-ritual-to-entertainment-echoes-of-realism-and-creativity-in-costumes-of-masquerades-in-new-nigerian-festivals" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/113845.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">128</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">3955</span> Rituals in Rock Art: Case Study of Bronze Age Rock Art of Gobustan</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Rahman%20Abdullayev">Rahman Abdullayev</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Rituals took place during the rock art production or in the rock art sites can be found reflection in contemporary culture. But the form of rituals was conducted in association with rock art production still uncertain. The main purpose of this research is to define the form of ritual activities that took place in the rock art sites, by the example of Bronze Age rock art of Gobustan. For ritual activity location of the rocks which were selected for making petroglyphs has important significance. Thus, not all the rocks which were suitable for rock art were used for this purpose. If in Upper Paleolithic, Mesolithic, Neolithic periods Gobustan inhabitants executed petroglyphs on the wall of rock shelters, but in Bronze Age they made it on rocks which are in front of the large, open spaces. A recent study of the location of Bronze Age rock art of Gobustan and involving ethnographic information to the interpretation of drawings allows defining the form of rituals which took place in Gobustan at Bronze Age. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Bronze%20Age" title="Bronze Age">Bronze Age</a>, <a href="https://publications.waset.org/abstracts/search?q=Gobustan" title=" Gobustan"> Gobustan</a>, <a href="https://publications.waset.org/abstracts/search?q=ritual" title=" ritual"> ritual</a>, <a href="https://publications.waset.org/abstracts/search?q=rock%20art" title=" rock art"> rock art</a> </p> <a href="https://publications.waset.org/abstracts/53410/rituals-in-rock-art-case-study-of-bronze-age-rock-art-of-gobustan" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/53410.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">227</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">3954</span> The Socio-Cultural Aspect of Food in Ceremonial Turkey</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Suheyla%20Saritas">Suheyla Saritas</a> </p> <p class="card-text"><strong>Abstract:</strong></p> No matter who we are or where we live, our lives revolve around food, which is much more than a merely sustenance. As a part of the human culture, food carries complex significance and symbolic meanings. Turkish people attribute great value to food and its usage specifically tied to rites of passages of human life. Traditions, especially the ones practiced during rites of passages, such as birth, circumcisions, weddings and funerals, have always been accompanied by food in Turkish culture. Since food celebrates and symbolizes human progress in life in the culture, it also surrounds by aspects of belief, custom, magic, ritual and religion and has always been used in ceremonial context during such rites. Even though that context may be different depending on the religious, economic and social nuances of the various Turkish regions, like wheat, meat and bread, certain kinds of food play key roles during Turkish rites, generally upholding traditions. This paper highlights the sociocultural aspect of food in the rites of passages in the Turkish culture. The importance of this work also is how the ceremonial food represents the identity of Turkish people. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=food" title="food">food</a>, <a href="https://publications.waset.org/abstracts/search?q=culture" title=" culture"> culture</a>, <a href="https://publications.waset.org/abstracts/search?q=rites%20of%20passages" title=" rites of passages"> rites of passages</a>, <a href="https://publications.waset.org/abstracts/search?q=ritual%20and%20identity" title=" ritual and identity"> ritual and identity</a> </p> <a href="https://publications.waset.org/abstracts/29212/the-socio-cultural-aspect-of-food-in-ceremonial-turkey" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/29212.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">430</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">3953</span> Contemporary Art of Healing: New Generation of Shamanism Ritual</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yeaeun%20Jang">Yeaeun Jang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Shamanism, in general, has been steadily reinterpreted as research and art from cult, superstition, mysticism, and historical perspectives. Shamanism has existed throughout the five-thousand-year-old history of Korea, and it still actively is ongoing. It is interesting to observe how this tradition has had a profound impact on its current high-technology society. Many still ask Shamans for pieces of advice rituals for their problems to be solved. Historically, Korean shamanism has a strong connection and many similarities with Mongolian and Eastern Siberian Shamanism. 'God' is 'Nature'. 'Shaman' is a 'Mediator of communication chosen by God' and is a divine being who has entered the mysterious realm by challenging human limitations through harsh training. A shaman in ancient society used to be a leader of a group and entertainer who played various roles; king, counsellor, doctor, singer, dancer, painter, and performer. This artistic research focuses on the Shaman role as an artist with multiple mediums and reconstructing their ancient ritual into multimedia performing art that attempts to deal with traumatic memories in one’s life. This fusion style of contemporary ritual is mainly inspired by ‘Gut(굿)’, Korean Shamanism ritual. This comprehensive art needs several important elements; a shaman, a client, musicians, helpers, and the audience. It is a feast to gather people in a big circle. Nowadays, art has been divided into separate fields and developed, but before, there existed art of Synesthesia, whose boundaries were unclear that were not determined through which medium to express that abstract ideas. Multiple disciplines coexist and harmonise with each other. Studying shamanism ritual as an ancient form of performing art can create a warm, spiritual feast for everyone and remind us about ‘togetherness’. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=healing" title="healing">healing</a>, <a href="https://publications.waset.org/abstracts/search?q=multimedia%20art" title=" multimedia art"> multimedia art</a>, <a href="https://publications.waset.org/abstracts/search?q=performance%20art" title=" performance art"> performance art</a>, <a href="https://publications.waset.org/abstracts/search?q=shamanism" title=" shamanism"> shamanism</a>, <a href="https://publications.waset.org/abstracts/search?q=spirituality" title=" spirituality"> spirituality</a> </p> <a href="https://publications.waset.org/abstracts/147422/contemporary-art-of-healing-new-generation-of-shamanism-ritual" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/147422.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">99</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">3952</span> Islamic Art and Architecture on Religious Buildings of Dagestan, Russia</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Anahita%20Shahrokhi">Anahita Shahrokhi</a>, <a href="https://publications.waset.org/abstracts/search?q=Hamed%20Kazemzadeh"> Hamed Kazemzadeh</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Various issues are included in cultural relations between societies. Art styles along with architectural similarities are by far one of the most noticeable cultural-historic relations. The Dagestan Republic located in the south of Russia Federation in the North Caucasus has had cultural relations with historical Iran since long ago and is considered as a part of the Islamic world. From Sassanid era and Islamic Empire prior to Tsars’ government, such relations had been maintained largely due to Iran and Islam’s political and social dominance over the region. The presence of the Iranians, mostly for business and commerce, is evident through not only written documents but also other cultural elements including architecture and art. Southern Dagestan and northern provinces of Iran, not distant from each other by sea, have a lot of artistic and cultural aspects in common. The architecture used in some structures such as religious centers, Tekie and Saqa Nafars strongly resembles religious centers in the south of Dagestan. The majority of these similarities lie in the wooden carvings, engravings, and paintings of the interior decorations on the pillars, capitals, walls, and ceilings, as well as the similarity of the plans. Such designs were formed in Safavid dynasty first in Mazandaran and later in Dagestan so that this style is currently named Persiski, meaning Persian, in the Dagestan Republic. These similarities indicate the relationship between the artists and educated people from Iran and Dagestan and the Iranians’ role on the religious and cultural development of Dagestan from the 17th and 18th centuries. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=wooden%20works" title="wooden works">wooden works</a>, <a href="https://publications.waset.org/abstracts/search?q=Mazandaran" title=" Mazandaran"> Mazandaran</a>, <a href="https://publications.waset.org/abstracts/search?q=Dagestan" title=" Dagestan"> Dagestan</a>, <a href="https://publications.waset.org/abstracts/search?q=Saqa%20Nafar" title=" Saqa Nafar"> Saqa Nafar</a>, <a href="https://publications.waset.org/abstracts/search?q=ritual%20and%20Islamic%20architecture" title=" ritual and Islamic architecture"> ritual and Islamic architecture</a> </p> <a href="https://publications.waset.org/abstracts/32087/islamic-art-and-architecture-on-religious-buildings-of-dagestan-russia" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/32087.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">477</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">3951</span> Hermeneutical Understanding of 2 Cor. 7:1 in the Light of Igbo Cultural Concept of Purification</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=H.%20E.%20Amolo">H. E. Amolo</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The concepts of pollution or contamination and purification or ritual cleansing are very important concepts among traditional Africans. This is because in relation to human behaviors and attitudes, they constitute on the one hand what could be referred to as moral demands and on the other, what results in the default of such demands. The many taboos which a man has to observe are not to be regarded as things mechanical which do not touch the heart, but that the avoidance is a sacred law respected by the community. In breaking it, you offend the divine power’. Researches have shown that, Africans tenaciously hold the belief that, moral values are based upon the recognition of the divine will and that sin in the community must be expelled if perfect peace is to be enjoyed. Sadly enough, these moral values are gradually eroding in contemporary times. Thus, this study proposal calls for a survey of the passage from an African cultural context; how it can enhance the understanding of the text, as well as how it can complement its scholarly interpretation with the view of institutionalizing the concept of holiness as a means of bringing the people closer to God, and also instilling ethical purity and righteousness. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cultural%20practices" title="cultural practices">cultural practices</a>, <a href="https://publications.waset.org/abstracts/search?q=Igbo%20ideology" title=" Igbo ideology"> Igbo ideology</a>, <a href="https://publications.waset.org/abstracts/search?q=purification" title=" purification"> purification</a>, <a href="https://publications.waset.org/abstracts/search?q=rituals" title=" rituals"> rituals</a> </p> <a href="https://publications.waset.org/abstracts/40324/hermeneutical-understanding-of-2-cor-71-in-the-light-of-igbo-cultural-concept-of-purification" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/40324.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">309</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">3950</span> Exploring the Symbolic Depictions of Animals and Mythical Creatures in Gilan Tomb Wall Paintings</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Zeinab%20Mirabulqasemi">Zeinab Mirabulqasemi</a>, <a href="https://publications.waset.org/abstracts/search?q=Gholamali%20Hatam"> Gholamali Hatam</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The article discusses the rich tradition of mural art in Gilan, Iran, particularly focusing on its religious and cultural significance, with a specific emphasis on tombs and Imamzadehs (descendants of imams). It examines the presence of animals and supernatural beings in these murals, such as horses, lions, birds, snakes, and angels, each carrying symbolic meanings within the religious narratives depicted. It discusses the multifaceted symbolism of these creatures and their portrayal in various scenes, enriching the narrative and conveying spiritual themes. Moreover, the article delves into the geographical and cultural context of the Gilan region, where many of these murals are found, and the challenges posed by environmental factors on their preservation. The article concludes by emphasizing the importance of preserving these artworks as valuable cultural heritage and calls for further research into their social, religious, and artistic dimensions. It utilizes a multifaceted research approach involving library research, image analysis, field investigations, and interviews with local inhabitants to gain a deeper understanding of the significance of these murals. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cultural%20ritual" title="cultural ritual">cultural ritual</a>, <a href="https://publications.waset.org/abstracts/search?q=Shiite%20imams" title=" Shiite imams"> Shiite imams</a>, <a href="https://publications.waset.org/abstracts/search?q=mural" title=" mural"> mural</a>, <a href="https://publications.waset.org/abstracts/search?q=belief%20foundations" title=" belief foundations"> belief foundations</a>, <a href="https://publications.waset.org/abstracts/search?q=religious%20paintings" title=" religious paintings"> religious paintings</a> </p> <a href="https://publications.waset.org/abstracts/184300/exploring-the-symbolic-depictions-of-animals-and-mythical-creatures-in-gilan-tomb-wall-paintings" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/184300.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">75</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">3949</span> The Labyrinth - Circular Choral Chant of Dithyramb in the 7th BC, Mirroring the Conjuction of the Planets and the Milky Way Circle</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Kleopatra%20Chatzigiosi">Kleopatra Chatzigiosi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The paper delves into the spatial and mythological examination of the choral chant of Dithyramb in the 7th BC, its connections to Dionysus, and its role in the origin of drama, exploring harmonious and symbolic aspects of early Greek culture. The primary aim is to analyze the development of Dithyramb in relation to harmonic systems and early musical scales, linking them to circular time and celestial movements. Additionally, the study seeks to unveil the mythological ties of Dithyramb with ancient rituals worshipping Mother Earth Cybele. The methodology involves researching etymology and mythology related to Dithyramb based on Pindar's works and proposing a harmonious design for the performance space of Dithyramb through harmonic spirals inspired by ancient practices. Ιt is also included a comparative study with similar choral traditions from other ancient cultures, providing a broader context for the findings of the work. The research uncovers the symbolic significance of Dithyramb as a dramatized representation of harmonic phenomena, leading to human deification within a context of Sacred Architecture, highlighting the intricate connections between music, rituals, and divine worship in ancient Greek culture. The study enriches understanding of the harmonic and symbolic underpinnings of ancient Greek choral traditions, shedding light on the complex interplay between music, mythology, and ritual practices in the development of early theatrical performances. Data was collected through an in-depth analysis of ancient texts, specifically Pindar's Dithyrambs, to trace the etymology and mythological origins of Dithyramb and its associated symbolism. The analysis involved scrutinizing ancient sources to draw connections between Dithyramb, harmonic systems, celestial movements, and mythological narratives, culminating in a comprehensive exploration of the cultural and symbolic significance of this choral tradition. The study addresses how the choral chant of Dithyramb evolved harmoniously within the ancient Greek cultural framework, its connections to celestial phenomena and ritual practices, and the symbolic implications of its mythological associations within a sacred architectural context. The research illuminates the profound cultural, symbolic, and harmonic dimensions of the choral chant of Dithyramb, offering valuable insights into the intersections between music, mythology, and ritual in ancient Greece, enriching scholarly understanding of early theatrical traditions. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=circular%20choral%20chant%20of%20dithyramb" title="circular choral chant of dithyramb">circular choral chant of dithyramb</a>, <a href="https://publications.waset.org/abstracts/search?q=%E2%80%9Cexarchon%E2%80%9D%28%20leader%29" title=" “exarchon”( leader)"> “exarchon”( leader)</a>, <a href="https://publications.waset.org/abstracts/search?q=great%20%E2%80%9Ceniautos%E2%80%9D%20%28year%29" title=" great “eniautos” (year)"> great “eniautos” (year)</a>, <a href="https://publications.waset.org/abstracts/search?q=harmony%20labyrinth" title=" harmony labyrinth"> harmony labyrinth</a> </p> <a href="https://publications.waset.org/abstracts/191081/the-labyrinth-circular-choral-chant-of-dithyramb-in-the-7th-bc-mirroring-the-conjuction-of-the-planets-and-the-milky-way-circle" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/191081.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">20</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">3948</span> The Soundscape of Contemporary Buddhist Music in Taiwan: Tzu Chi Vesak Ceremony</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sylvia%20Huang">Sylvia Huang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Contemporary Buddhist music has been emerged at the new forms of large-scale public Buddhist ritual ceremonies that may involve up to 10,000 participants at a time. Since 2007, the Buddha’s Birthday ceremony (Sanskrit, Vesak) by the Buddhist Tzu Chi Foundation has being held at major cities in Taiwan and many affiliated Tzu Chi offices around the world. Analysis of this modern and technologically-dependent ceremony sheds new light on the significance of music in contemporary Buddhist ritual, and also on recently enhanced and increasingly intimate connections between music and Buddhism. Through extensive ethnographic research of ten years (2007-2017), the research explores how the form of contemporary Buddhist music relates to the role of music in participants’ experience of the ritual and the way in which they construct meaning. The theoretical approach draws on both ethnomusicology and Buddhist teachings, Dharma. As soundscape is defined as the entire sonic energy produced by a landscape, the concept of soundscape is utilised to examine the contemporary ritual music in the Tzu Chi Vesak ceremony. The analysis opens new territory in exploring how analysis of Buddhist music can benefit from incorporating Buddhist philosophy within the methodological approach. Main findings are: 1) music becomes a method for Buddhist understanding through a focus in particular on how the ceremonial program is followed by music, and 2) participants engage with each other and entrain with music in the Vesak ceremony. As Buddhist sounding, such as scripture reading, liturgical chanting, and ceremonial music singing, is a sonic epistemological knowing of the conditions in which Buddhism is practiced, experienced, and transmigrated, the research concludes by showing that studies of Buddhist music have the potential to reveal distinctively Buddhist concepts, meaning, and values. Certain principles of Buddhist philosophy are adopted within ethnomusicological analysis to further enhance understandings of the crucial function of music within such a ritual context. Finally, the contemporary Buddhist music performance in the ceremony is possessed as a means of direct access to the spiritual experience in Buddhism. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=buddhist%20music" title="buddhist music">buddhist music</a>, <a href="https://publications.waset.org/abstracts/search?q=Taiwan" title=" Taiwan"> Taiwan</a>, <a href="https://publications.waset.org/abstracts/search?q=soundscape" title=" soundscape"> soundscape</a>, <a href="https://publications.waset.org/abstracts/search?q=Vesak%20ceremony" title=" Vesak ceremony"> Vesak ceremony</a> </p> <a href="https://publications.waset.org/abstracts/96502/the-soundscape-of-contemporary-buddhist-music-in-taiwan-tzu-chi-vesak-ceremony" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/96502.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">137</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">3947</span> Communicating with Spirits: Bridging the Nether World of Spirits and the Real World in Healing Performances</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=S.%20Ishak">S. Ishak</a>, <a href="https://publications.waset.org/abstracts/search?q=M.%20G.%20Nasuruddin"> M. G. Nasuruddin</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Traditional Malay performances are carried out for both entertainment and curing purposes. In curing rituals, the men and women serving as shamans, communicates with the spirits and beings from the nether world to facilitate the curing process. The dependency on engaging with these other-worldly beings however, have raised religious issues of being <em>syirik</em>, namely practicing in rituals which are religiously forbidden. This study aims to observe how ritual leaders attempt to negotiate the fine balance between what has been religiously forbidden and the psychological and sociological needs of the patient. Two curing rituals, the <em>main peteri</em> and the <em>malibobou</em> were chosen to exemplify the communication between the physical and spiritual realities. In both rituals, the healers engaged in procedures of curing as they attempted to diagnose sicknesses and proffer cures with the help of the spirits. The <em>main peteri</em> was conducted by a male shaman, the <em>tuk teri</em> whereas the <em>malibobou</em> was conducted by a female ritual specialist, the <em>bobohizan</em>. <em>Main peteri</em> and the <em>malibobou</em> both ended with ritually thanking and sending off the spirits back to their nether, invisible domains. These curing rituals heal not only the sick individual, but by extension, the village community. Therefore, there is a need to reconcile these rituals with religious tenets, beliefs and sociological-political-cultural dimensions. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=traditional%20healing" title="traditional healing">traditional healing</a>, <a href="https://publications.waset.org/abstracts/search?q=trance" title=" trance"> trance</a>, <a href="https://publications.waset.org/abstracts/search?q=spirits" title=" spirits"> spirits</a>, <a href="https://publications.waset.org/abstracts/search?q=main%20peteri" title=" main peteri"> main peteri</a>, <a href="https://publications.waset.org/abstracts/search?q=bobohizan" title=" bobohizan"> bobohizan</a> </p> <a href="https://publications.waset.org/abstracts/14880/communicating-with-spirits-bridging-the-nether-world-of-spirits-and-the-real-world-in-healing-performances" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/14880.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">359</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">3946</span> Cultural Practices as a Coping Measure for Women Who Terminated a Pregnancy in Adolescence: A Qualitative Study</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Botshelo%20Rachel%20Sebola">Botshelo Rachel Sebola</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Unintended pregnancy often results in pregnancy termination. Most countries have legalised the termination of a pregnancy and pregnant adolescents can visit designated clinics without their parents’ consent. In most African and Asian countries, certain cultural practices are performed following any form of childbirth, including abortion, and such practices are ingrained in societies. The aim of this paper was to understand how women who terminated a pregnancy during adolescence coped by embracing cultural practices. A descriptive multiple case study design was adopted for the study. In-depth, semi-structured interviews and reflective diaries were used for data collection. Thirteen women aged 25 to 35 who had terminated a pregnancy in adolescence participated in the study. Three women kept their soiled sanitary pads, burned them to ash and waited for the rainy season to scatter the ash in a flowing stream. This ritual was performed to appease the ancestors, ask them for forgiveness and as a send-off for the aborted foetus. Five women secretly consulted Sangoma (traditional healers) to perform certain rituals. Three women isolated themselves to perform herbal cleansings, and the last two chose not to engage in any sexual activity for one year, which led to the loss of their partners. This study offers a unique contribution to understanding the solitary journey of women who terminated a pregnancy. The study challenges healthcare professionals who work in clinics that offer pregnancy termination services to look beyond releasing the foetus to advocating and providing women with the necessary care and support in performing cultural practices. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=adolescence" title="adolescence">adolescence</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20practices" title=" cultural practices"> cultural practices</a>, <a href="https://publications.waset.org/abstracts/search?q=case%20study" title=" case study"> case study</a>, <a href="https://publications.waset.org/abstracts/search?q=pregnancy" title=" pregnancy"> pregnancy</a> </p> <a href="https://publications.waset.org/abstracts/157617/cultural-practices-as-a-coping-measure-for-women-who-terminated-a-pregnancy-in-adolescence-a-qualitative-study" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/157617.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">131</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">3945</span> The Power of Symbol in the Powerful Symbol: Case Study of Symbol Visualization Change in the Form of Pelinggih in Bali</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=I%20Nyoman%20Larry%20Julianto">I Nyoman Larry Julianto</a>, <a href="https://publications.waset.org/abstracts/search?q=Pribadi%20Widodo"> Pribadi Widodo</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The phenomenon of cultural change is the result of the process of shifting, reducing and adding elements of cultural systems because of the process of interaction with the environment. Interestingly in the temple area in Bali, there is a phenomenon of symbol visualization change in the form of pelinggih, which is in the shaped of the car. As a result of the sacralization process of the symbol, the function of its essence is remained as a place of worship. Hindu communities in Bali can accept that phenomenon in their religious life as a process of today's cultural acculturation. Through an interpretive ethnographic study, it is tried to understand the 'creative concept’of that symbol materialization in its interaction process. The result of the research stated that the interaction value of the symbol visualization change is constructed from the application of 'value' and 'meaning' of the previous pelinggih. The ritual procession and the reinforcement of the mythical mind, make the 'value' of the visualization change of the pelinggih leads to a sacred, religious conception. In the future, the development of the human mind is more functional, but it does not eliminate the mythological value due to the interaction with the surrounding social environment, so the visualization of the symbol in the form of pelinggih which is in the shape of the car will be the identity of a new cultural heritage. The understanding of the influence of mental representation of human being in an effort toward his spiritual awareness will be able to be the advanced research. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=the%20power%20of%20symbol" title="the power of symbol">the power of symbol</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20change" title=" visual change"> visual change</a>, <a href="https://publications.waset.org/abstracts/search?q=pelinggih" title=" pelinggih"> pelinggih</a>, <a href="https://publications.waset.org/abstracts/search?q=Bali" title=" Bali"> Bali</a> </p> <a href="https://publications.waset.org/abstracts/86256/the-power-of-symbol-in-the-powerful-symbol-case-study-of-symbol-visualization-change-in-the-form-of-pelinggih-in-bali" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/86256.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">165</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">3944</span> Visual Representation of Ancient Chinese Rites with Digitalization Technology: A Case of Confucius Worship Ceremony</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Jihong%20Liang">Jihong Liang</a>, <a href="https://publications.waset.org/abstracts/search?q=Huiling%20Feng"> Huiling Feng</a>, <a href="https://publications.waset.org/abstracts/search?q=Linqing%20Ma"> Linqing Ma</a>, <a href="https://publications.waset.org/abstracts/search?q=Tianjiao%20Qi"> Tianjiao Qi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Confucius is the first sage in Chinese culture. Confucianism, the theories represented by Confucius, has long been at the core of Chinese traditional society, as the dominating political ideology of centralized feudal monarchy for more than two thousand years. Confucius Worship Ceremony held in the Confucian Temple in Qufu (Confucius’s birthplace), which is dedicated to commemorate Confucius and other 170 elites in Confucianism with a whole set of formal rites, pertains to “Auspicious Rites”, which worship heaven and earth, humans and ghosts. It was first a medium-scaled ritual activity but then upgraded to the supreme one at national level in the Qing Dynasty. As a national event, it was celebrated by Emperor as well as common intellectuals in traditional China. The Ceremony can be solemn and respectful, with prescribed and complicated procedures, well-prepared utensil and matched offerings operated in rhythm with music and dances. Each participant has his place, and everyone follows the specified rules. This magnificent ritual Ceremony, while embedded with rich culture connotation, actually symbolizes the social acknowledgment for orthodox culture represented by Confucianism. Rites reflected in this Ceremony, is one of the most important features of Chinese culture, serving as the key bond in the identification and continuation of Chinese culture. These rites and ritual ceremonies, as culture memories themselves, are not only treasures of China, but of the whole world. However, while the ancient Chinese Rite has been one of the thorniest and most complicated topics for academics, the more regrettable is that due to their interruption in practice and historical changes, these rites and ritual ceremonies have already become a vague language in today’s academic discourse and strange terms of the past for common people. Luckily, we, today, by virtue of modern digital technology, may be able to reproduce these ritual ceremonies, as most of them can still be found in ancient manuscripts, through which Chinese ancestors tell the beauty and gravity of their dignified rites and more importantly, their spiritual pursuits with vivid language and lively pictures. This research, based on review and interpretation of the ancient literature, intends to construct the ancient ritual ceremonies, with the Confucius Worship Ceremony as a case and by use of digital technology. Using 3D technology, the spatial scenes in the Confucian Temple can be reconstructed by virtual reality; the memorial tablet exhibited in the temple by GIS and different rites in the ceremonies by animation technology. With reference to the lyrics, melodies and lively pictures recorded in ancient scripts, it is also possible to reproduce the live dancing site. Also, image rendering technology can help to show the life experience and accomplishments of Confucius. Finally, lining up all the elements in a multimedia narrative form, a complete digitalized Confucius Worship Ceremony can be reproduced, which will provide an excellent virtual experience that goes beyond time and space by bringing its audience back to that specific historical time. This digital project, once completed, will play an important role in the inheritance and dissemination of cultural heritage. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Confucius%20worship%20ceremony" title="Confucius worship ceremony">Confucius worship ceremony</a>, <a href="https://publications.waset.org/abstracts/search?q=multimedia%20narrative%20form" title=" multimedia narrative form"> multimedia narrative form</a>, <a href="https://publications.waset.org/abstracts/search?q=GIS" title=" GIS"> GIS</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20representation" title=" visual representation"> visual representation</a> </p> <a href="https://publications.waset.org/abstracts/64290/visual-representation-of-ancient-chinese-rites-with-digitalization-technology-a-case-of-confucius-worship-ceremony" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/64290.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">259</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">3943</span> Philosophical Interpretations of Spells in the Imperial Chinese Buddhism</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Saiping%20An">Saiping An</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The spells in Chinese Buddhism are often regarded by current scholarship as syllables with mystical power, as a ritual and practice of oral chanting, or as texts engraved on cultural relics. This study hopes to point out that the spell as a kind of behavior and material also provokes the believers to interpret its soteriology with various Buddhist doctrines and philosophies. It will analyze Mahāvairocana Tantra which is the main classic of the tradition regarded by the academic circles as 'Esoteric Buddhism', two annotations of these scriptures composed in the Tang and Liao Dynasty respectively, as well as some works of monks and lay Buddhists in the late Ming and early Qing dynasties. It aims to illustrate that spells in Chinese Buddhism are not simply magical voices and the words engraved on the cultural relics; they have also enriched the doctrines and thoughts of Chinese Buddhism. Their nature and soteriological methods are far more abundant than current academic circles have revealed. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=spell" title="spell">spell</a>, <a href="https://publications.waset.org/abstracts/search?q=Chinese%20Buddhism" title=" Chinese Buddhism"> Chinese Buddhism</a>, <a href="https://publications.waset.org/abstracts/search?q=philosophy" title=" philosophy"> philosophy</a>, <a href="https://publications.waset.org/abstracts/search?q=Buddhist%20doctrines" title=" Buddhist doctrines"> Buddhist doctrines</a> </p> <a href="https://publications.waset.org/abstracts/108168/philosophical-interpretations-of-spells-in-the-imperial-chinese-buddhism" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/108168.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">179</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">3942</span> The Symbolism of Kolanut in Igbo Cosmology: A Re-Examination</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chukwudi%20Chidume">Chukwudi Chidume</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper considers the symbolism of kola nut according to Igbo worldview. How kola nut helps to shape the people’s philosophical ideology, especially in relation to religion. The roles of kola nut within the Igbo socio-cultural context and the values attached to these roles will be examined. The roles of kola nut as a means of socialization, education and transmission of cultural values from the preceding to succeeding generations will come under consideration. Equally, this paper looks at the traditional rules regarding not only the uses but more essentially the mode of kola nut presentation, blessing, breaking and sharing of kola nut. How these rules and kola nut have persisted in the face of social and cultural changes which have affected the Igbo people shall be reviewed. The roles played by kola nut in Igbo religion will come under study, which is to correct some of the misconceptions by writers who are motivated by eurocentric idealism but quite oblivious of the Igbo cultural setting and the place of kola nut in it. The onslaught of Western civilization causing the change of attitude among the young generation towards kola nut as a vital aspect of our culture tends to pose a threat to the future and survival of kola nut. Again, the study of Igbo culture as many have done rarely gives an in depth knowledge on the concept, roles and symbolism of kola nut as one of the sacred objects like Ofo and Shrines in Igboland. Mostly it is forgotten that without kola nut, shrines cannot be attended to. Many people think that the spiritual significance and sacramental symbolism are not worth exploring. They, therefore, refuse to try and discover the ritual ramifications, claiming that to probe into the mystery demystifies the matter. Kola nut symbolism is not mysteriously inexplicable. It is a revered symbol of social intercourse with deep social relevance. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=communion" title="communion">communion</a>, <a href="https://publications.waset.org/abstracts/search?q=consecration" title=" consecration"> consecration</a>, <a href="https://publications.waset.org/abstracts/search?q=Igbo" title=" Igbo"> Igbo</a>, <a href="https://publications.waset.org/abstracts/search?q=kola%20nut" title=" kola nut"> kola nut</a>, <a href="https://publications.waset.org/abstracts/search?q=religion" title=" religion"> religion</a> </p> <a href="https://publications.waset.org/abstracts/12076/the-symbolism-of-kolanut-in-igbo-cosmology-a-re-examination" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/12076.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">451</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">3941</span> Cultural Policies, Globalisation of Arts, and Impact on Cultural Heritage: A Contextual Analysis of France</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nasser%20AlShawaaf">Nasser AlShawaaf</a> </p> <p class="card-text"><strong>Abstract:</strong></p> While previous researchers have attempted to explain art museums commercialisation with reference to cultural policies, they have overlooked the phenomenon of globalisation. This study examines the causes and effects of globalisation of art museums in France. Building on arts literature, we show that the cultural policies of the French government since 1980s of cultural democratisation, cultural decentralisation, and implementing market principles on the cultural sector are leading to arts globalisation. Although globalisation is producing economic benefits and enhancing cultural reach, however, the damages include artistic values and creativity, cultural heritage and representation, and the museum itself. Art museums and host cities could overcome negative consequences through a hybrid collection display and develop local collections gradually. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cultural%20policy" title="cultural policy">cultural policy</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20decentralisation" title=" cultural decentralisation"> cultural decentralisation</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20globalisation" title=" cultural globalisation"> cultural globalisation</a>, <a href="https://publications.waset.org/abstracts/search?q=art%20museums" title=" art museums"> art museums</a>, <a href="https://publications.waset.org/abstracts/search?q=contextual%20analysis" title=" contextual analysis"> contextual analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=France" title=" France"> France</a> </p> <a href="https://publications.waset.org/abstracts/161783/cultural-policies-globalisation-of-arts-and-impact-on-cultural-heritage-a-contextual-analysis-of-france" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/161783.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">104</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">3940</span> Cultural Practices as a Coping Measure for Women who Terminated a Pregnancy in Adolescence: A Qualitative Study</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Botshelo%20Rachel%20Sebola">Botshelo Rachel Sebola</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Unintended pregnancy often results in pregnancy termination. Most countries have legalised the termination of a pregnancy, and pregnant adolescents can visit designated clinics without their parents’ consent. In most African and Asian countries, certain cultural practices are performed following any form of childbirth, including abortion, and such practices are ingrained in societies. The aim of this paper was to understand how women who terminated a pregnancy during adolescence coped by embracing cultural practices. A descriptive multiple case study design was adopted for the study. In-depth, semi-structured interviews and reflective diaries were used for data collection. 13 women aged 20 to 35 years who had terminated a pregnancy in adolescence participated in the study. Three women kept their soiled sanitary pads, burned them to ash and waited for the rainy season to scatter the ash in a flowing stream. This ritual was performed to appease the ancestors, ask them for forgiveness and as a send-off for the aborted foetus. Five women secretly consulted Sangoma (traditional healers) to perform certain rituals. Three women isolated themselves to perform herbal cleansings, and the last two chose not to engage in any sexual activity for one year, which led to the loss of their partners. This study offers a unique contribution to understanding the solitary journey of women who terminate a pregnancy. The study challenges healthcare professionals who work in clinics that offer pregnancy termination services to look beyond releasing the foetus to advocating and providing women with the necessary care and support in performing cultural practices. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=adolescence" title="adolescence">adolescence</a>, <a href="https://publications.waset.org/abstracts/search?q=culture" title=" culture"> culture</a>, <a href="https://publications.waset.org/abstracts/search?q=case%20study" title=" case study"> case study</a>, <a href="https://publications.waset.org/abstracts/search?q=pregnancy" title=" pregnancy"> pregnancy</a> </p> <a href="https://publications.waset.org/abstracts/161562/cultural-practices-as-a-coping-measure-for-women-who-terminated-a-pregnancy-in-adolescence-a-qualitative-study" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/161562.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">85</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">3939</span> The Connection between Heroism and Violence in War Narratives from the Aspect of Rituals</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Rita%20Fofai">Rita Fofai</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The aim of the study is to help peacebuilding by analyzing the symbolical level of fights in the war. Despite the sufferings, war heroism still represents such a noble value in war narratives (especially in literature and films, whether it is high- or popular culture) which can make warfare attractive for every age-group. The questions of the study will revolve around the events when heroism is not a necessary and unselfish act for a greater good, but when the primary aim is to express strength in order to build self-mythology. Since war is a scene where the mythological level can meet reality, and even modern narratives use the elements of rituals and sacral references in even secular contexts, understanding the connection between rites and modern battles will ground this study, and the analysis will follow the logic of the violent rites. From this aspect, war is not merely the fight for different countries and ideas, but the fight of mankind with superhuman and natural or supernatural phenomena, as well. In this context, enemy symbolizes the threat of the world which is unpredictable for mankind, and the fight becomes a ritual combat; therefore the winner’s symbolic reward is to redefine himself or herself not only in the human environment but in the context of the whole world. The analysis of the study reveals that this kind of violence does not represents real heroism and rarely results in recruitment, on the contrary, conserves fear and the feeling of weakness, which is the root cause of this kind of act. The result of this study is a way to reshape the attitude toward so-called heroic war violence which is often a part of war narratives even nowadays. Since stepping out of the war tradition is mainly a cultural question, redefining the connection between society and narratives which has an effect on mentality and emotions, giving a clear guide to making difference between heroism and useless violence is very important in peacebuilding. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=war" title="war">war</a>, <a href="https://publications.waset.org/abstracts/search?q=ritual" title=" ritual"> ritual</a>, <a href="https://publications.waset.org/abstracts/search?q=heroism" title=" heroism"> heroism</a>, <a href="https://publications.waset.org/abstracts/search?q=violence" title=" violence"> violence</a>, <a href="https://publications.waset.org/abstracts/search?q=narratives" title=" narratives"> narratives</a>, <a href="https://publications.waset.org/abstracts/search?q=culture" title=" culture"> culture</a> </p> <a href="https://publications.waset.org/abstracts/100292/the-connection-between-heroism-and-violence-in-war-narratives-from-the-aspect-of-rituals" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/100292.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">127</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">3938</span> Mapping the Sonic Spectrum of Traditional Music and Instruments Used in Malaysian Kavadi Rituals</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ainolnaim%20Azizol">Ainolnaim Azizol</a>, <a href="https://publications.waset.org/abstracts/search?q=Valerie%20Ross"> Valerie Ross</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Music is as old as mankind and rituals using music such as Kavadi have been associated with social, cultural, and spiritual practices in many traditional and modern societies. Recent literature has provided scientific evidence that music affects psychological and physical changes through stimulation of brainwave. Despite such advances, the scientific study of the sonic qualities peculiar to traditional instruments and how it impacts on ritualistic activities is still lacking. This study addresses one such phenomenon. Devotees in Kavadi rituals are known to be in a state of trance state and do not experience pain nor suffer injury despite the hundreds of needles pierced through their skins. Although scientists have sought to understand how this is possible, lesser is known about the music that is used to prepare devotees to enter into the trance state. This study fills this gap of knowledge by providing scientific evidence through the identification and mapping of the sonic spectrum or sound fingerprint of the instruments and the repertoire used in these ritualistic forms in their ethnographic environment and in audio-controlled situations. The objectives are to identify and categorize the different types of traditional music used in Kavadi rituals; to record, transcribe and digitally score the musical repertoire used in the oral tradition of Kavadi rituals; to map the sonic spectrum of ritual music using spectromography and advanced music analytical software a mixed methodology will be used. This comprises ethnographic field studies using interviews, participant observation, audio-video recordings and audio-methodology using spectromography and advanced audio-technology for sonic mapping and the transcription of audio recordings into digital scores. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=sonic" title="sonic">sonic</a>, <a href="https://publications.waset.org/abstracts/search?q=traditional" title=" traditional"> traditional</a>, <a href="https://publications.waset.org/abstracts/search?q=ritual" title=" ritual"> ritual</a>, <a href="https://publications.waset.org/abstracts/search?q=Kavadi" title=" Kavadi"> Kavadi</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a> </p> <a href="https://publications.waset.org/abstracts/54012/mapping-the-sonic-spectrum-of-traditional-music-and-instruments-used-in-malaysian-kavadi-rituals" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/54012.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">242</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">3937</span> Mechanisms of Cultural Change Resistance through Cultures</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Horaya%20Mostafa%20Ahmed">Horaya Mostafa Ahmed</a> </p> <p class="card-text"><strong>Abstract:</strong></p> All cultures are inherently predisposed to change and, at the same time, to resisting change. There are dynamic processes operating that encourage the acceptance of new ideas and things, while there are others that encourage changeless stability. Despite the dramatic changes that have taken place in all human cultures, there are cultures still steadfast and resist change. These cultures resist through some culture mechanisms like, cultural boundaries, ethnocentrism, religion, and cultural relativity. So this paper is an attempt to discover these mechanisms of cultural change resistance and to ask is cultural change always required. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cultural%20change" title="cultural change">cultural change</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20boundaries" title=" cultural boundaries"> cultural boundaries</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20relativity" title=" cultural relativity"> cultural relativity</a>, <a href="https://publications.waset.org/abstracts/search?q=ethnocentrism" title=" ethnocentrism"> ethnocentrism</a>, <a href="https://publications.waset.org/abstracts/search?q=religion" title=" religion"> religion</a>, <a href="https://publications.waset.org/abstracts/search?q=resistance" title=" resistance"> resistance</a> </p> <a href="https://publications.waset.org/abstracts/44362/mechanisms-of-cultural-change-resistance-through-cultures" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/44362.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">340</span> </span> </div> </div> <ul class="pagination"> <li class="page-item disabled"><span class="page-link">&lsaquo;</span></li> <li class="page-item active"><span class="page-link">1</span></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=cultural%20ritual&page=2">2</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=cultural%20ritual&page=3">3</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=cultural%20ritual&page=4">4</a></li> <li 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