Abstract/Sommario: Since the 1950s scholars Fang Guoyu, Ma Yao and You Zhong have established a historical link between the ethnic groups of the Yi linguistic family and the ancient Di and Qiang peoples, implying that the ancestors of the Lahu in Yunnan were migrants from Qinghai two thousand years ago. Based on the place names recorded in Lahu myths regarding the "world of death" they have also drawn a clear migration route of the Lahu. Today, the young generation of Lahu villagers and ritual specialis ...; [Leggi tutto...]
Since the 1950s scholars Fang Guoyu, Ma Yao and You Zhong have established a historical link between the ethnic groups of the Yi linguistic family and the ancient Di and Qiang peoples, implying that the ancestors of the Lahu in Yunnan were migrants from Qinghai two thousand years ago. Based on the place names recorded in Lahu myths regarding the "world of death" they have also drawn a clear migration route of the Lahu. Today, the young generation of Lahu villagers and ritual specialists all claim that the Lahu came from Qinghai and that the mythical "world of death" should therefore be located in Qinghai. Some ritual specialists also report this local knowledge to foreign scholars when they serve as informants for them. Local knowledge is commonly cherished as preeminent anthropological understanding, often accompanied with a certain presumption of the locality of the informants, in this case the spatiality and temporality of the Lahu communities on the margin of the Chinese empire throughout history. The study aim to question such presumption of locality by investigating how official history was disseminated locally and how it was reinterpreted and represented by Lahu communities as local knowledge for ethnographic research
Abstract/Sommario: Kamui yukar (chants of spiritual beings) are one among over twenty genres of Ainu oral performance. Highly rhythmical, Kamui yukar are sung in the first person voice of the spiritual being whose story is told. Normally these spiritual beings are natural phenomena, usually animals. The article examines and translates the third kamui yukar, the Chant of the Fox About Itself recorded by Chiri Yukie in her 1976 collection the Ainu shin'yoshu. It looks at he general characteristics of foxe ...; [Leggi tutto...]
Kamui yukar (chants of spiritual beings) are one among over twenty genres of Ainu oral performance. Highly rhythmical, Kamui yukar are sung in the first person voice of the spiritual being whose story is told. Normally these spiritual beings are natural phenomena, usually animals. The article examines and translates the third kamui yukar, the Chant of the Fox About Itself recorded by Chiri Yukie in her 1976 collection the Ainu shin'yoshu. It looks at he general characteristics of foxes and the human fox relationship within the Ainu worldview and argues that the fox of this chant (identified as a black fox; Ainu: chironnup) that is the subject of most other Ainu fox chants and lore. It argues that the special powers seen in the shintupe reflect the Ainu understanding of the connection between more powerful animal spiritual beings and the particular location in the landscape where they are understood to dwell
Abstract/Sommario: Korean Shamans (manshin or mudang) practicing in the tradition of Hwang-hae province possess numerous paintings of spirits of deceased shamans (songsu) who assist them in their activities. Attention has been paid to such paintings (hwan) mainly in the context of shamanism as a part of Korean national heritage, andt he role they play in the lives of individual shamans has been neglected. If one looks beyond the surface of these hwan, which often seem to be almost identical, it turns ou ...; [Leggi tutto...]
Korean Shamans (manshin or mudang) practicing in the tradition of Hwang-hae province possess numerous paintings of spirits of deceased shamans (songsu) who assist them in their activities. Attention has been paid to such paintings (hwan) mainly in the context of shamanism as a part of Korean national heritage, andt he role they play in the lives of individual shamans has been neglected. If one looks beyond the surface of these hwan, which often seem to be almost identical, it turns out that shamans have very personal relationships with the figures depicted, who may have been professional as well as genealogical ancestors. In some cases, the paintings also represent the spiritual essence of a living person (including the shaman her-himself). A detailed investigation of the very personal meaning that hwan have for individual shamans helps to understand the dynamics of rituals. Taking into account the very personal nature of the shamanic experience involved also strengthens the claims of the Korean 'manshin' to be called shamans according to a general definition of shamanism formulated by Roberte Hamayon
Abstract/Sommario: A widespread belief in India is that at birth a deity comes to write the destiny of the newborn child on his forehead. Like the well-known concept of karma. the motif of headwriting expresses that one must bear one's fate since no amount of effort can alter it. And yet folktales that use this motif often show that one's destiny can be fulfilled in surprising ways. The article examines five instances of the outwitting fate tale type that use the motif of headwriting to argue that thes ...; [Leggi tutto...]
A widespread belief in India is that at birth a deity comes to write the destiny of the newborn child on his forehead. Like the well-known concept of karma. the motif of headwriting expresses that one must bear one's fate since no amount of effort can alter it. And yet folktales that use this motif often show that one's destiny can be fulfilled in surprising ways. The article examines five instances of the outwitting fate tale type that use the motif of headwriting to argue that these tales contest the deterministic world view supported by karma ideology by rejecting ascribed identities and advocating the use of wit, courage, and, significantly, trade to transform a miserable fate into a good one. The A. further argues that these values can be identified with upwardly mobile low-caste trading communities who may have been the "authors" or primarily bearers of these folktales