Relevant bibliographies by topics / African Cosmology

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'African Cosmology'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 August 2024

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Journal articles on the topic "African Cosmology"

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Ngong, David T. "Reading the Bible in Africa." Exchange 43, no. 2 (May 12, 2014): 174–91. http://dx.doi.org/10.1163/1572543x-12341316.

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Abstract This paper describes inculturation biblical reading in a narrow way to include mainly that reading of the Bible that takes for granted what is believed to be a peculiarly African spiritualistic cosmology. A central element of this method includes pitting a supposedly African spiritualized cosmology against a supposedly Western rationalistic and disenchanted cosmology. Proponents of this method claim that a relevant biblical interpretation in the African context should enable Africans to deal with issues arising from their belief in an enchanted world. This essay problematizes the focus on this enchanted cosmology and argues that the African condition can be effectively addressed through interpreting the Bible in ways that encourage the development of the scientific imagination, which could lead to the development of science and technology and an improved standard of living for the people.
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Oosthuizen, George C. "Interpretation of Demonic Powers in Southern African Independent Churches." Missiology: An International Review 16, no. 1 (January 1988): 3–22. http://dx.doi.org/10.1177/009182968801600101.

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African Independent Churches (AIC) have grown especially in South Africa at a tremendous pace—from thirty-two denominations in 1913 and hardly one percent of the African population to over three thousand denominations in 1980 and nearly 30 percent of the African population. Various reasons account for this tremendous growth such as several major emphases: Africanization of the church, socioeconomic deprivation, the adaptation process from the microcosmic to the macrocosmic world, and a holistic approach to healing which takes note of the indigenous cosmology. The latter aspect is a central issue. There are two types of diseases—natural, behind which are no malicious external forces, and those which are understood only within the context of African cosmology such as witchcraft, sorcery, ancestor wrath, spirit-possession. The missionaries ignored these forces and the problems Africans encountered with them. To these malicious forces the AIC give attention and their handling of them makes a decisive impact. This is the main theme of the article.
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Exkano, Jessica. "Toward an African Cosmology." Journal of Black Studies 44, no. 1 (November 8, 2012): 63–80. http://dx.doi.org/10.1177/0021934712465313.

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Akasaka, Ken. "Toshinao Yoneyama, Cosmology of African Peasants." Journal of African Studies 1990, no. 37 (1990): 89–91. http://dx.doi.org/10.11619/africa1964.1990.37_89.

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Martin, Denise. "Maat and Order in African Cosmology." Journal of Black Studies 38, no. 6 (March 20, 2007): 951–67. http://dx.doi.org/10.1177/0021934706291387.

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Datsau, Abednego Audu. "Religious and Humanistic Principles in African Ethics: Panacea for Overcoming Inhumanity in Contemporary Nigeria." African Journal of Culture, History, Religion and Traditions 5, no. 1 (September 11, 2022): 39–47. http://dx.doi.org/10.52589/ajchrt-7kd7wwvp.

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Although humanistic ethical principles are usually seen as secular in nature, yet it is important to note that African humanistic ethical principle is unique when compared to other ethical principles. What makes African humanistic ethical principle to be different from other humanistic ethical principles is that it is an ethical principle that is not separated from religion. The researcher was motivated to carry out this research because, unlike other humanistic ethical principles that are unconnected to religion, African humanistic ethical principle is informed by African Traditional Religion. The aim of this research is to show how understanding the peculiarity of African humanistic ethics will help in solving inhumanity which Africans are passing through. The research achieved the aim through the following objectives: By pointing the relationship between religion and ethics in African Traditional Religions, by showing the place of man in West African religious cosmology, by showing peculiarities of West African Religious ethics, and by showing the peculiarities of African humanism. This is an expository research that is based on existing information. The researcher carried out the research by comparing and contrasting, analyzing and synthesizing secular and African humanistic ethical principles. The research will help people in contemporary Africa to work toward promoting the wellbeing of fellow Africans who are suffering from all forms of inhumanity. The scope of the research is on the religious and humanistic principles in West African ethics. The research has shown that religious and humanistic ethical principles are inseparable in African traditional world view.
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Ghanbari, Javid. "An Investigation into Architectural Creolization of West African Vernacular Mosques." International Journal of Multicultural and Multireligious Understanding 8, no. 9 (September 4, 2021): 66. http://dx.doi.org/10.18415/ijmmu.v8i9.2874.

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In investigating the influence of religious thoughts on architecture, much attention has been given to divine world-wide religions by the researchers, while indigenous religions have to a great extent been neglected. Ancient tribes in different parts of the world, have, on the basis of their cosmology, shaped beliefs which reflect on their architecture, especially on their sacred buildings. Regarding the Dogons-a well-known and a dominant tribe in West Africa- their Gods, cosmology and beliefs have led to the formation of settlements comprising houses, temples and other types of buildings in accordance with their religious thoughts while also being in harmony with nature. Up on the expansion of Islam throughout Africa, especially West Africa, vernacular mosques are shaped gradually beside shrines making a typology of Islamic architecture which has traces of both Dogon and Islamic architecture within it; While the influence of natural materials and indigenous building techniques should not be neglected. Taking a descriptive-deductive analysis approach, this paper will search for the architectural creolization process and will eventually conclude that West African vernacular mosques inherit their formal and spatial features mostly from Dogon house and pioneer mosques in Medina and their physical features, elements and exterior decorations from Dogon temples.
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Maithufi, Sope. "African Aesthetics: A Matter of Reason or Cosmology?" English Academy Review 39, no. 1 (January 2, 2022): 1–5. http://dx.doi.org/10.1080/10131752.2022.2122168.

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طلب, غادة محمد سيد. "African Cosmology in Gloria Naylor's Mama Day (1989)." مجلة الآداب والعلوم الإنسانية 99, no. 2 (July 1, 2024): 23–52. http://dx.doi.org/10.21608/fjhj.2024.232738.1521.

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Adepoju, Oluwatoyin Vincent. "Epistemic Roots, Universal Routes and Ontological Roofs of African “Ritual Archives”: Disciplinary Formations in African Thought." Yoruba Studies Review 3, no. 1 (December 21, 2021): 1–41. http://dx.doi.org/10.32473/ysr.v3i1.129934.

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One may compose an essay on another essay, and possibly an even longer one than the essay being studied, long as that one is, when one is confronted with one of those things one has to say something about after encountering them. “Ritual Archives”, the climatic conclusion of the account in The Toyin Falola Reader ( Austin: Pan African University, 2018), of the efforts of Africa and its Americas Diaspora to achieve political, economic, intellectual and cultural individuality, is a deeply intriguing, ideationally, structurally and stylistically powerful and inspiring work, rich with ideas and arresting verbal and visual images. His focus is Africa and its Diaspora, but his thought resonates with implications far beyond Africa, into contexts of struggle for plurality of vision outside and even within the West, the global dominance of whose central theoretical constructs inspires Falola’s essay. “Ritual Archives”, oscillates between the analytical and the poetic, the ruminative and the architectonic, expressive styles pouring out a wealth of ideas, which, even though adequately integrated, are not always adequately elaborated on. This essay responds to the resonance of those ideas, further illuminating their intrinsic semantic values and demonstrating my perception of the intersections of the concerns they express with issues beyond the African referent of “Ritual Archives”. This response is organized in five parts, representing my understanding of the five major thematic strategies through which the central idea is laid out and expanded. 316 Oluwatoyin Vincent Adepoju The first section, “Developing Classical African Expressions as Sources of Locally and Universally Valid Theory” explores Falola’s advocacy for an expanded cultivation of theory from Africa created and Africa inspired expressive forms. “Epistemic and Metaphysical Integrity in Ifá”, the second part, examines his argument for a re-centering of studies in classical African thought within the epistemic and metaphysical frames of those bodies of knowledge, using the Yoruba origin Ifá system of knowledge, spiritual development and divination as an example, an illustration I analyze through my own understanding of the cognitive and metaphysical framework of Ifá. The third unit, “Falola’s Image Theory and Praxis, Image as Archive, Image as Initiator”, demonstrates Falola’s dramatization of the cognitive possibilities of works of art as inspirers of theory, exemplified by a figurine of the Yoruba origin òrìṣà cosmology, the deity Esu. This is the most poetic and one of the most imaginatively, ideationally evocative and yet tantalizingly inadequately elaborated sections of “Ritual Archives”, evoking continuities between Yoruba philosophy, òrìṣà cosmology and various bodies of knowledge across art and image theory and history, without expanding on the ideas or building them into a structure adequately responsive to the promise of the ideas projected, a foundation I contribute to developing by elucidating my understanding of the significance of the ideas and their consonance with related conceptions and issues from Asian, Western and African cultures. I also demonstrate how this section may contribute to clarification of the nature of Yoruba philosophy understood as a body of ideas on the scope of human intelligibility and the relationship between that philosophy and òrìṣà cosmology, an expansive view of the cosmos developed in relation to the philosophy. This is a heuristic rather than an attempt at a definitive distinction and is derived from the relationship between my practical and theoretical investigation of Yoruba epistemology and Falola’s exploration, in “Ritual Archives”, of a particularly strategic aspect of òrìṣà cosmology represented by Esu. The distinction I advance between Yoruba philosophy and òrìṣà cosmology and the effort to map their interrelations is useful in categorizing and critically analyzing various postulates that constitute classical Yoruba thought. This mapping of convergence and divergence contributes to working out the continuum in Yoruba thought between a critical and experiential configuration and a belief system. The fourth section, “The Institutional Imperative”, discusses Falola’s careful working out of the institutional implications of the approach he advocates of developing locally and universally illuminating theory out of endogenous African cultural forms. The fifth part, “Imagistic Resonance”, presents Falola’s effort to make the Toyin Falola Reader into a ritual archive, illustrating his vision for African art as an inspirer of theory, by spacing powerful black and white pictures of forms of this art, mainly sculptural but also forms of Epistemic Roots, Universal Routes and Ontological Roofs 317 clothing, largely Yoruba but also including examples from other African cultures, throughout the book. Except for the set of images in the appendix, these artistic works are not identified, nor does the identification of those in the appendix go beyond naming them, exclusions perhaps motivated by the need to avoid expanding an already unusually big book of about 1,032 pages of central text. I reproduce and identify a number of these artistic forms and briefly elaborate on their aesthetic force and ideational power, clarifying the theoretical formations in which they are embedded and exploring the insights they could contribute to theory beyond their originating cultures. “Ritual Archives” is particularly important for me because it elucidates views strategic to my own cognitive explorations and way of life but which I have not been able to articulate with the ideational comprehensiveness and analytical penetration Falola brings to the subject of developing theory from endogenous African cultural expressions, exemplified by Ifá and art, two of my favorite subjects
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Dissertations / Theses on the topic "African Cosmology"

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Obiekezie, Matthew U. "The doctrine of the hypostatic union in the context of Igbo anthropology." Theological Research Exchange Network (TREN), 2002. http://www.tren.com.

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Von, Maltitz Emil Arthur. "Occult forces -- lived identities: witchcraft, spirit possession and cosmology amongst the Mayeyi of Namibia's Caprivi Strip." Thesis, Rhodes University, 2007. http://hdl.handle.net/10962/d1013279.

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Around Africa there seems to be an increasing disillusion with 'development', seen under the rubric of teleological 'progress', which is touted by post-colonial governments as being the cure for Africa's ailments and woes. Numerous authors have pointed out that this local disillusion, and the attempt to manage the inequities that arise through development and modernity, can be seen to be understood and acted upon by local peoples through the idiom of witchcraft beliefs and fears (see Geschiere & Fisiy 2001; Geschiere 1997; Nyamnjoh 2001; Comaroff & Comaroff 1993; Ashforth 2005) and spirit possession nanatives (see Luig 1999; Gezon 1999), or more simply, occult beliefs and praxis (Moore & Sanders 2001). The majority of the Mayeyi of Namibia's Eastern Caprivi perceive that development is the only way their regiOn and people can survive and succeed in a modernising world. At ~he same time there is also a seeming reluctance to move towards perceiving witchcraft as a means of accumulation (contra Geschiere 1997). This notion of the 'witchcraft of wealth' is emerging, but for the most part witches are seen as the enemies of development, while spirit possession narratives speak to the desire for development and of the identity of the group vis-a-vis the rest of the world. The thesis presented argues that, although modernity orientated analyses enable occult belief to be used as a lens through which to 1..mderstand 'modernity's malcontents' (Comaroff & Comaroff 1993), they can only go so far in explaining the intricacies of witchcraft and spirit possession beliefs themselves. The dissertation argues that one should return to the analysis of the cosmological underpinnings of witchcraft belief and spirit possession, taken together as complementary phenomena, in seeking to understand the domain of the occult. By doing so the thesis argues that a more comprehensive anthropological understanding is obtained of occult belief and practice, the ways in which the domain of the occult is constituted and the ways in which it is a reflection or commentary on a changing world.
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Ikebude, Chukwuemeka. "Identity in Igbo architecture Ekwuru, Obi, and the African Continental Bank building /." Ohio : Ohio University, 2009. http://www.ohiolink.edu/etd/view.cgi?ohiou1250885407.

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Williams, Annette Lyn. "Our mysterious mothers| The primordial feminine power of aje in the cosmology, mythology, and historical reality of the West African Yoruba." Thesis, California Institute of Integral Studies, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3643206.

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Among the Yoruba àjé&dotbelow; is the primordial force of causation and creation. Àjé&dotbelow; is the power of the feminine, of female divinity and women, and àjé&dotbelow; is the women themselves who wield this power. Unfortunately, àjé&dotbelow; has been translated witch/witchcraft with attendant malevolent connotations. Though the fearsome nature of àjé&dotbelow; cannot be denied, àjé&dotbelow; is a richly nuanced term. Examination of Yoruba sacred text, Odu Ifa, reveals àjé&dotbelow; to be an endowment gifted to female divinity from the Source of Creation. Female divinity empowered their mortal daughters with àjé&dotbelow;—spiritual and temporal power exercised in religious, judicial, political, and economic domains throughout Yoruba history. However, in contemporary times àjé&dotbelow; have been negatively branded as witches and attacked.

The dissertation investigates factors contributing to the duality in attitude towards àjé&dotbelow; and factors that contributed to the intensified representation of their fearsome aspects to the virtual disavowal of their positive dimensions. Employing transdisciplinary methodology and using multiple lenses, including hermeneutics, historiography, and critical theory, the place of àjé&dotbelow; within Yoruba cosmology and historical reality is presented to broaden understanding and appreciation of the power and role of àjé&dotbelow; as well as to elucidate challenges to àjé&dotbelow;. Personal experiences of àjé&dotbelow; are spoken to within the qualitative interviews. Individuals with knowledge of àjé&dotbelow; were interviewed in Yorubaland and within the United States.

Culture is not static. A critical reading of Odu Ifa reveals the infiltration of patriarchal influence. The research uncovered that patriarchal evolution within Yoruba society buttressed and augmented by the patriarchy of British imperialism as well as the economic and social transformations wrought by colonialism coalesced to undermine àjé&dotbelow; power and function.

In our out-of-balance world, there might be wisdom to be gleaned from beings that were given the charge of maintaining cosmic balance. Giving proper respect and honor to "our mothers" (awon iya wa) who own and control àjé&dotbelow;, individuals are called to exercise their àjé&dotbelow; in the world in the cause of social justice, to be the guardians of a just society.

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Love, Aaron Anyabwile. "UNINTERRUPTED CONVERSATIONS WITH OUR EEGUN: PRELIMINARY CONSIDERATIONS FOR METHODOLOGICAL APPROACHES TO THE RESEARCH OF AFRICAN MUSIC AND THE MUSIC OF JOHN COLTRANE." Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/289387.

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African American Studies
Ph.D.
African music and its musicians from the Pharaonic periods to Mali to the Mississippi Delta to the South Bronx have contributed some of the most lasting and influential cultural creations known. The music and musicians of Africa have been studied as early as the early 18th century. As interest in African music grew so did the discipline of ethnomusicology. Ethnomusicology has sought to understand, interpret and catalog the various areas of African music. In the United States interest in the music as a continuation of African culture was also sought after and investigated as an important area of research. The main objective of this project is to help expand the methodological approaches in the study of African Diasporan musical cultures and their practitioners. The author undertook a critical examination of the previous works on the subject made by both Continental and Diasporan African scholars, in addition to fieldwork in the United States and Africa (Ghana). Through considering the work songs of Pharaonic Egypt, the cosmogram of the Bantu-Kongo and the life of John Coltrane in particular this proposed work articulates new methodological tools in the research of African music and musicians.
Temple University--Theses
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McAllister, Cher Love. "Remembering Asar: An Argument to Authenticate RastafarI's Conceptualization(s) of Haile Selassie I." Diss., Temple University Libraries, 2009. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/29493.

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African American Studies
Ph.D.
Since the emergence of RastafarI communities within 1930's Jamaica following the coronation of Ras Tafari Makonnen as Haile Selassie I, Negus (king) of Ethiopia, RastafarI continuously articulate his divinity within their discourse. While the specific nomenclature for and significance of Haile Selassie I may vary in accordance to time and affiliation, it is unquestionable that Selassie I remains central to the RastafarI way of life for more than 70 years. What scholars and thinkers on RastafarI question, and very fervently so during the past 10 years, is the authenticity of the divinity of Selassie I within RastafarI thought. The few scholars who attempt to solve what for them is the "problem of authenticity," claim, through christological and apologistic approaches, that RastafarI need to reconsider the possibility of his status, as it is conjecture and blasphemy. Adhering to African epistemological assumptions that everything in existence comprises the whole of existence, we rely on an African symbolic approach to examine RastafarI conceptualizations of Selassie I within pre-coronation, coronation and post-coronation RastafarI writings. Given that the material reality seemingly degenerates the collective body and consciousness in accordance with the cycles of time as expressed within the most ancient of Kemetic cosmologies, our aim is to suggest that Haile Selassie I emerges as a ba, the soul template, of Asar, a force manifesting as the human ability and potential to exist within the material realm in accordance with the unseen realm of existence. We conclude, unlike previous academic thinkers who examine RastafarI thought, that RastafarI thinking about Haile Selassie I is therefore an authentic perspective, one that undoubtedly occurs in accordance with the structure and origin of the universe and the cyclical journey of Africana reclamation of a primordial consciousness.
Temple University--Theses
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Buehler, Dorothea [Verfasser]. "«There’s a Way to Alter the Pain» : Biblical Revision and African Tradition in the Fictional Cosmology of Gloria Naylor’s Mama Day and Bailey’s Café / Dorothea Buehler." Frankfurt : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2013. http://d-nb.info/1042425868/34.

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Jolicoeur, Sheean. "The observed bispectrum for SKA and other galaxy surveys." University of the Western Cape, 2019. http://hdl.handle.net/11394/6792.

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Philosophiae Doctor - PhD
Next-generation galaxy surveys will usher in a new era of high precision cosmology. They will increasingly rely on the galaxy bispectrum to provide improved constraints on the key parameters of a cosmological model to percent level or even beyond. Hereby, it is imperative to understand the theory of the galaxy bispectrum to at least the same level of precision. By this, we mean to include all the general relativistic projection effects arising from observing on the past lightcone, which still remains a theoretical challenge. This is because unlike the galaxy power spectrum, the galaxy bispectrum requires these lightcone corrections at second-order. For the rst time, this PhD project looks at all the local relativistic lightcone e ects in the galaxy bispectrum for a at Friedmann-Lemaitre-Robertson-Walker Universe, giving full details on the second-order scalars, vectors and tensors. These lightcone effects are mostly Doppler and gravitational potential contributions. The vector and tensor modes are induced at second order by scalars. We focus on the squeezed shapes for the monopole of the galaxy bispectrum because non-Gaussianity of the local form shows high signatures for these triangular con gurations. In the exact squeezed limit, the contributions from the vectors and tensors vanish. These relativistic projection effects, if not included in the analysis of observations, can be mistaken for primordial non-Gaussianity. For future surveys which will probe equality scales and beyond, all the relativistic corrections will need to be considered for an accurate measurement of primordial non-Gaussianity.
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Momberg, Marthie. "Different ways of belonging to totality : traditional African and Western-Christian cosmologies in three films : an exploratory literature study." Thesis, Stellenbosch : University of Stellenbosch, 2010. http://hdl.handle.net/10019.1/5452.

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Thesis (MPhil (Religion and Culture) Practical Theology and Missiology))--University of Stellenbosch, 2010.
ENGLISH ABSTRACT: This study distinguishes between religion as a sense of belonging to the ultimately-real and specific religious traditions. Religion, as used here, concerns a cosmological understanding of the universe and with that which is experienced as meaningful and real on an existential level. Although differences between religious traditions are generaly known, most people‟s emotional conceptual frameworks of the universe are so deep seated that they do not even realise that far-reaching differences between people on this level too are possible. It often happens, for example, that concepts such as transcendence and redemption are incorrectly accepted as universal to all of humanity. Yet in fact, cosmological concepts (the nature and experience of the immediate world out there, the conceptual understanding of time, the role of chance versus determinism, the source of religious knowledge and so forth) can be experienced differently on a symbolic level. In the context of Religion and Media which is the field of study relevant here, as well as in a number of other contexts, it is problematic when scholars project their own views of reality and meaning experiences onto those of others – especially when they expressly articulate their intention as the opposite. John Cumpsty (1991) distinguished three ways in which a person can derive meaning from the cosmic totality and I shall discuss two of these with reference to the Western-Christian and the traditional African reality views. From this, it becomes clear that radical different patterns of cosmological understanding are possible, each with its own systemically related set of symbols. Along with Cumpsty‟s theory, I also use the theory of Castells (2005) on the construction of social identities, as well as the theory of Sen (2006) on the use of cognitive versus affective dimensions in identity formation, to indicate how cosmological symbols can be positioned differently. With these three theories in mind, I subsequently interpret the identities of the main characters in three films hermeneutically. I specifically selected this medium as a segment of life to be studied because of the increasing popularity of the medium in reflection, construction and projection of existential meaning. Another reason for my choice is the many examples where interpretors of film project their own cosmological understanding onto those of others whilst they actually intend to be pluralistic. The findings of this study surprised me. Firstly and as expected, it clarifies the nature of differences between the Western-Christian and the traditional African cosmologies, as well as how these are implemented in praxis and by symbolic interpretations. However, the integration of the three theories also afforded me the opportunity to develop a method for a religious-cosmological analyses of identities. According to this method, an interpretor of films can distinguish between his or her own paradigm and a possible other paradigm. It allows the analyst to acknowledge the own paradigm and simultaneously respect another paradigm – without projecting the own onto the other. Therefore this method diminishes the chances of using dubble-text interpretation which maintains or promotes the exclusion of others. With this method, as well as the findings of this study, one can go much wider than the field of Religion and Media, as it involves the understanding of identity and different ways of belonging to the cosmic totality.
AFRIKAANSE OPSOMMING: Hierdie studie onderskei tussen religie as ’n manier van behoort aan die ultiem-werklike en spesifieke religieuse tradisies. Religie soos hier gebruik, het te make met ‟n kosmologiese verstaan van die heelal en met wat eksistensieel as werklik en sinvol ervaar word. Hoewel verskille tussen religieuse tradisies algemeen bekend is, is mense se emosionele verstaansraamwerke van die heelal so diep gesetel, dat die meeste nie eens besef dat daar ook op hierdie vlak ingrypende verskille is nie. So gebeur dit dikwels dat konsepte soos “transendensie” en “verlossing”verkeerdelik as universeel aan alle mense en religeuse tradisies beskou word. In der waarheid kan kosmologiese komponente (die aard en ervaring van die onmiddellike realiteit; tydsverstaan; die rol van kans teenoor determinisme; die bron van religieuse kennis; ensovoorts) egter op ’n simboliese vlak verskillend ervaar word. In die konteks van Religie en Media waarbinne hierdie studie val, asook binne vele ander kontekste, is dit problematies wanneer akademici hul eie realiteitsiening en sinservaring op dié van ander projekteer – veral wanneer hulle hulself uitdruklik voorgeneem het om die teendeel te doen. John Cumpsty (1991) het drie maniere waarop mense sin maak van die kosmiese totaliteit onderskei en ek bespreek twee daarvan met verwysing na die Westers-Christelike en die tradisionele Afrika realiteitsienings. Hieruit word dit dan duidelik dat algeheel verskillende patrone in ‟n kosmiese verstaan moontlik is, elk met ‟n eie stel simbole wat sistemies bymekaar aansluit. Saam met Cumpsty se teorie, gebruik ek ook dié van Castells (2005) oor sosiale identiteitsvorming, en dié van Sen (2006) oor die gebruik van die kognitiewe versus die affektiewe in identiteitsvorming om aan te toon hoe kosmologiese simbole verskillend geposisioneer kan word. Met hierdie drie teorieë in gedagte, ontsluit ek vervolgens die identiteite van die hoofkarakers in drie rolprente hermeneuties. Ek het spesifiek dié medium as ‟n bestudeerbare greep van die lewe gekies weens die toenemende gewildheid daarvan in die refleksie, konstruksie en projeksie van eksistensiële sin. Nog ‟n rede is die talle voorbeelde waarin interpreteerders van rolprente hul eie kosmiese verstaan op dié van andere projekteer terwyl hulle eintlik pluralisties wil wees. Die bevindinge van hierdie studie was vir my verrassend. Dit bring eerstens, soos verwag, wel helderheid oor die aard van verskille tussen die Westers-Christelike en die tradisionele Afrika kosmologieë, asook hoe dit in die praktyk kan uitspeel aan die hand van simboliese interpretasies. Die integrasie van die drie teorieë het my egter ook die kans gebied om ‟n metode vir ’n religieus-kosmologiese analise van identiteit te ontwikkel. Hiervolgens kan ‟n ontleder van rolprente op ‟n redelike, sistematiese en sistemiese manier tussen sy of haar eie, sowel as ‟n moontlike ander, paradigma onderskei. Dit laat die ontleder toe om die eie paradigma te erken, sowel as respek te betoon teenoor ’n ander paradigma – sonder om die eie op die ander te projekteer. Daarom verminder hierdie metode veral ook die kans op die gebruik van ‟n dubbele-teks interpretasie wat uitsluiting van die ander handhaaf of bevorder. Hierdie metode, sowel as die bevindinge van die studie, kan veel wyer as die veld van Religie en Media toegepas word, omdat dit te make het met die verstaan van identiteit en verskillende maniere van behoort aan die kosmiese totaliteit.
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Emil, Luana Rosado. "Habitar entre dois : etnografia com a egbé do Ilê Asè Omi Olodô, em Porto Alegre, RS." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/104891.

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Este trabalho é uma etnografia com a comunidade do Ilê Asè Omi Olodô, terreiro de Batuque localizado na Vila São José, em Porto Alegre, realizada no período de 2011 a 2013. Essa comunidade de terreiro se assemelha à maioria dos terreiros da cidade em termos socioeconômicos, localizando-se em uma região periférica; contudo, é uma comunidade que se diferencia pelo posicionamento político ao refletir míticosocialmente sobre si mesma. Desse modo, o foco da presente etnografia é a descrição da eco(cosmo)logia de matriz africana observada em campo, considerando que ela se faz entre-dois mundos, o “ocidental” e o de matriz africana. Essa dissertação percorre a narrativa dessa experiência com a comunidade dentro e fora do terreiro, buscando explicitar essa forma de habitar (entre) dois mundos. A partir dessa perspectiva, buscase demonstrar que há uma metodologia do ambiente que inicia no corpo. O ambientecorpo é percebido na relação entre os momentos cotidianos e os momentos rituais; entre eles, percebe-se o fazer-se das habilidades e das potências que emergem da orisálidade. Assim, a Antropologia Ecológica de Tim Ingold contribui para narrar o aprendizado obtido na vivência no Ilê Asè Omi Olodô enquanto localidade cosmopolítica. Além disso, a narrativa se orienta no sentido de descrever a vivência da afrocentridade, da ancestralidade, da oralidade, da complementaridade e da circularidade.
This work is an ethnography of community from Ilê Asè Omi Olodô (terreiro de Batuque) located in Vila Sao Jose in Porto Alegre, Brazil, from 2011 up to 2013. This terreiro shares attributes with other terreiros, such as their peripheral location in the city and their ritual practices. It is very distinct, however, in terms of political orientation and self-reflective practices over mythical and social themes. Therefore, this research work aims to describe the eco(cosmo)logy – rooted in African origins – observed in the field, considering that it is established between two worlds, occidental-based and African-based. From that standpoint, the objective is to demonstrate the existence of a methodology of the environment whose starting point is the body. The bodyenvironment is perceived in the relation of the daily and the ritual moments; among them, it is possible to see the abilities and potentialities emerged from the orisálidade. Hence, the Ecological Antropology by Tim Ingold contributes to narrate the learning process experienced in Ilê Asè Omi Olodô as a cosmopolitical location. Besides, the narrative is oriented in order to describe the experience of afrocentricity, ancestrality, oral tradition, complementarity and circularity.
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Books on the topic "African Cosmology"

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1940-, Arens W., and Karp Ivan, eds. Creativity of power: Cosmology and action in African societies. Washington: Smithsonian Institution Press, 1989.

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Motshekga, Mathole. The Mudjadji dynasty: The principles of female leadership in African cosmology. Pretoria: Kara, 2010.

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Anthony, Barrett. Sacrifice and prophecy in Turkana cosmology. Nairobi, Kenya: Paulines Publications Africa, 1998.

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O'Mos, Ikupasa. Aspects of Yoruba cosmology in Tutuola's novels. Kinshasa: Centre de recherches pédagogiques, 1990.

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South African Science and Religion Forum (5th 1997 University of South Africa). Faith, science and African culture: African cosmology and Africa's contribution to the future of science : proceedings of the fifth seminar of the South African Science and Religion Forum (SASRF) of the Research Institute for Theology and Religion held at Unisa on 29 & 30 May 1997. Edited by Du Toit C. W and Research Institute for Theology and Religion. Pretoria: Research Institute for Theology and Religion, Unisa, 1998.

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South African Science and Religion Forum (5th 1997 University of South Africa). Faith, science and African culture: African cosmology and Africa's contribution to the future of science : proceedings of the fifth seminar of the South African Science and Religion Forum (SASRF) of the Research Institute for Theology and Religion, held at Unisa on 29 & 30 May 1997. Edited by Du Toit C. W. Pretoria: Research Institute for Theology and Religion, 1998.

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Diouf, Mame Birame. La société sérère: Organisation et cosmogonie : essai. Dakar: Éditions Maguilen/Michel Lafon, 2008.

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C, Holbrook Jarita, Medupe Rodney, and Urama Johnson O, eds. African cultural astronomy: Current archaeoastronomy and ethnoastronomy research in Africa. [Berlin?]: Springer, 2008.

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Àjàyí, Yekeen Ajíbádé. Yorùbá cosmology and aesthetics: The cultural confluence of divination, incantation and drum-talking. Ì̀lo̧rin, Nigeria: Library and Publications Committee, University of Ì̀lo̧rin, 2009.

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Akbar, Naʼim. Light from ancient Africa. Tallahassee, Fla: Mind Productions, 1994.

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Book chapters on the topic "African Cosmology"

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Ouzman, Sven. "Cosmology of the African San People." In Encyclopaedia of the History of Science, Technology, and Medicine in Non-Western Cultures, 1450–58. Dordrecht: Springer Netherlands, 2016. http://dx.doi.org/10.1007/978-94-007-7747-7_9707.

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Breitinger, Habil Eckhard. "Tutuola and His Vision of Yoruba Cosmology." In Encyclopedia of African Religions and Philosophy, 676–78. Dordrecht: Springer Netherlands, 2021. http://dx.doi.org/10.1007/978-94-024-2068-5_377.

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Oyěwùmí, Oyèrónké. "(Re)constituting the Cosmology and Sociocultural Institutions of Òyó-Yorùbá." In African Gender Studies A Reader, 99–119. New York: Palgrave Macmillan US, 2005. http://dx.doi.org/10.1007/978-1-137-09009-6_6.

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Masilela, Ntongela, and Dike Okoro. "The greatness of Mazisi Kunene and the influence of Zulu Cosmology." In Futurism and the African Imagination, 122–65. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003179146-10.

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Olupọna, Jacob K. "1. Worldview, cosmology, and myths of origin." In African Religions, 1–19. Oxford University Press, 2014. http://dx.doi.org/10.1093/actrade/9780199790586.003.0001.

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"Barthélémy Boganda between Charisma and Cosmology." In The Individual in African History, 246–74. BRILL, 2020. http://dx.doi.org/10.1163/9789004407824_011.

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"“Satan Is an Imitator”: Kenya’s Recent Cosmology of Corruption." In Producing African Futures, 294–328. BRILL, 2004. http://dx.doi.org/10.1163/9789047413790_013.

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Adé, Taharka. "AfroFuturism and African Philosophy of Time." In Afrocentricity in AfroFuturism, 149–64. University Press of Mississippi, 2023. http://dx.doi.org/10.14325/mississippi/9781496847836.003.0008.

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This chapter assesses the African philosophical notions of time and how such cultural paradigms can better enrich AfroFuturism, combatting the Eurocentric masquerade by way of the restoration of African ways of knowing. Had Europeans not so forcefully and violently upended African epistemology and supposing transcultural relations between Africans and Europeans persisted, Africans would have been free to approach the European concept of “future” on their own terms. The aesthetics and ethos of a paradigmatically “African future” would perhaps vary greatly from the current confines of science fiction or even AfroFuturism itself. Afrocentricity's foundational premise, that Africans be agents and not subjects in their own historical realities, does not exclude that which is fictional. Further, the restoration of African cosmology and cultural ethos is the driving force behind the Afrocentric paradigm. Thus, Afrocentrists see it as an imperative that all modes of activity African people engage in must be grounded by African cultural paradigms, which largely means an investigation and reutilization of the cosmologies of the African past. The chapter then looks at the debate between John S. Mbiti and Akan philosopher Kwame Gyekye about the African philosophical notion of time.
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Power, Camilla. "RECONSTRUCTING A SOURCE COSMOLOGY FOR AFRICAN HUNTER-GATHERERS." In Human Origins, 180–203. Berghahn Books, 2016. http://dx.doi.org/10.2307/j.ctvswx6tg.11.

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Power, Camilla. "Chapter 7 RECONSTRUCTING A SOURCE COSMOLOGY FOR AFRICAN HUNTER-GATHERERS." In Human Origins, 180–203. Berghahn Books, 2022. http://dx.doi.org/10.1515/9781785333798-009.

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Conference papers on the topic "African Cosmology"

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Moshugi, Kgomotso. "A Musical History Through Vocal Expressions at the Abbey Cindi Cosmology Concert." In Arts Research Africa 2022 Conference Proceedings. Arts Research Africa, 2022. http://dx.doi.org/10.54223/10539/35900.

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This paper reports on a research project that culminated in a concert honoring South African musician and activist Bra Abbey Cindi. The project involved reissuing Cindi’s album, forming a band of young musicians to perform his music, and creating a vocal group called No Limits to reinterpret Cindi’s earlier South African choral works. The paper proposes the use of music to explore the past, present, and future, linking generations and addressing social issues. It discusses specific compositions, their lyrical and musical merits, and the process of arranging them for vocal performance. The paper also highlights the role of community engagement and the value of reimagining historical musical works.
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Pyper, Brett, and Kgomotso Moshugi. "From Cosmopolitanism to Cosmology and Back Again: Co-Curating a Practice-Centred South African Jazz Collective, 2020-2022." In Arts Research Africa 2022 Conference Proceedings. Arts Research Africa, 2022. http://dx.doi.org/10.54223/10539/35885.

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Since 2005 as a researcher, and since the early 1990s as an organiser who worked in Pretoria as South Africa transitioned towards democracy, Brett Pyper has had the privilege of knowing a community of practice that occupies a distinct, under- recognised position in the country’s internationally famous jazz culture. Known variously as jazz appreciation societies, social clubs or stokvels (mutual aid associations), these township-based collectives played no small part, during the long night of apartheid, in preserving and developing the vibrant, cosmopolitan African cultures that were suppressed and dispersed under racial and ethnic segregation policies. They did so in spite of restrictions on public gatherings, and in communities with hardly any civic or cultural amenities. After the formal end of apartheid and the lifting of cultural boycotts in the 1990s, the country’s reintegration into circuits of international cultural exchange resulted in the establishment of several globally benchmarked festivals. Meanwhile, these community-based jazz societies underwent their own efflorescence, though in relative isolation from the festivals that take place in downtown convention centres for a globally mobile, relatively elite clientele. These developments emblematise the promise as well as the limitations of the post-apartheid transition: while the existence of platforms for international jazz luminaries serves as a powerful symbol of change and a vehicle for the assertion of transnational cultural and political ties, the audience for jazz music in South Africa remains largely excluded from participating in these celebrations of avowedly post-apartheid culture.
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Arantes, Priscila, and Cynthia Nunes. "Into the decolonial encruzilhada: the Afrofuturistic collages of Luiz Gustavo Nostalgia as the artistic materialization of cruzo." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.88.

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The task of reviewing the silences present in hegemonic histories emerges at the beginning of the 20th century, seeking to provide a more amplified way of understanding the history of peoples and nations subjected to colonial subjugation. Rufino (2019) considers that this space of decolonization presents itself under the name of “encruzilhada” (crossroads) and understands the potentialities of the orixá Exu, of Yoruba spirituality: the orixá of communication, of the paths and the guardian of axé (vital energy). Exu disarray what exist to reconstruct— therefore, since the encruzilhada is Exu’s place, it is a space that allows the crossing of knowledge produced as deviations from colonial impositions on so-called official knowledge, a process which the author names “cruzo” (cross): the encruzilhada is a refusal to everything put as absolute; Exu is the movement of that encruzilhada. In addition to the positivization of the knowledge and ways of living of peoples who have suffered, over the centuries, from numerous processes of inferiority, it is necessary to insert this knowledge in the cultural elements of the present— and in the conceptions about the future. It is in this context that, regarding the experience of Afro-diasporic peoples, a global aesthetic movement that encompasses arts, literature, audiovisual and academic research emerges: Afrofuturism (YASZEK, 2013). Afrofuturism goal is to connect the dilemmas of the African diaspora to technological innovations, commonly unavailable to the descendants of the enslaved, and it aims to establish possible future scenarios— scenarios that contemplate the presence and, furthermore, the protagonism of black people (YASZEK, 2013). To this end, the movement breaks with the Western linear chronology and starts to consider time in a cyclic way, interweaving past, present and future in a single composition: in the same way that Exu, in the Yoruba cosmology, killed a bird yesterday with a stone that has only been thrown today, Afrofuturism weaves a web of historical and cultural retaking of African memory with questions that arise from the reflection of the problems faced by black people in the present, in order to think about a positive and possible future, once a dystopian scenario is already weighing on the shoulders of them. In the frontier of visual arts and design, Luiz Gustavo Nostalgia, a creator based on Rio de Janeiro, dismantles existing images and rearranges them through collages to create a new intention of meaning. His work evokes the cruzo on the principle of rearranging— central to collages— with the widespread rearrangement of our ways of living and understanding society— based on an Afrofuturistic conception of world— by celebrating African motifs, culture and spirituality, allied to the already acquainted aesthetics of “future” (such as the galaxy, bright lights and robotic elements). Through your creation, the artist is capable of presenting a future where black people do exist as protagonists and have their culture, past and roots celebrated.
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Arantes, Priscila, and Cynthia Nunes. "Hacia la encruzilhada descolonial: los collages afrofuturísticos de Luiz Gustavo Nostalgia como materialización artística del cruzo." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.88.g108.

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La tarea de revisar los silencios presentes en las historias hegemónicas surge a principios del siglo XX, buscando dar una forma más amplia de entender la historia de los pueblos y naciones sometidos a la subyugación colonial. Rufino (2019) considera que este espacio de descolonización se presenta bajo el nombre de “encruzilhada” y entiende las potencialidades del orixá Exu, de la espiritualidad yoruba: el orixá de la comunicación, de los caminos y el guardián del axé (energía vital). Exu desordena lo que existe para reconstruirlo. Por lo tanto, ya que la encruzilhada es el lugar de Exu, es un espacio que permite el cruce de los conocimientos producidos como desviaciones de las imposiciones coloniales sobre el llamado conocimiento oficial, proceso que el autor denomina “cruzo”: la encruzilhada es un rechazo a todo lo puesto como absoluto; Exu es el movimiento de esa encruzilhada. Además de la positivización de los conocimientos y modos de vida de los pueblos que han sufrido a lo largo de los siglos numerosos procesos de inferioridad, es necesario insertar estos conocimientos en los elementos culturales del presente y en las concepciones sobre el futuro. Es en este contexto en el que, en relación con la experiencia de los pueblos afrodiaspóricos, surge un movimiento estético global que abarca las artes, la literatura, lo audiovisual y la investigación académica: el afrofuturismo (YASZEK, 2013). El objetivo del afrofuturismo es conectar los dilemas de la diáspora africana con las innovaciones tecnológicas, comúnmente no disponibles para los descendientes de los esclavizados, y pretende establecer posibles escenarios futuros, escenarios que contemplen la presencia y, además, el protagonismo de las personas negras (YASZEK, 2013). Para ello, el movimiento rompe con la cronología lineal occidental y pasa a considerar el tiempo de forma cíclica, entrelazando pasado, presente y futuro en una misma composición. De la misma manera que Exu, en la cosmología yoruba, mató un pájaro ayer con una piedra que sólo ha sido lanzada hoy, el Afrofuturismo teje una red de retomo histórico y cultural de la memoria africana con cuestiones que surgen de la reflexión de los problemas a los que se enfrenta la población negra en el presente, para pensar en un futuro positivo y posible una vez que un escenario distópico pesa ya sobre sus hombros. En la frontera entre las artes visuales y el diseño, Luiz Gustavo Nostalgia, creador afincado en Río de Janeiro, desmonta las imágenes existentes y las reordena mediante collages para crear una nueva intención de sentido. Su obra evoca el cruzo del principio de reordenación -central en los collages- con la reordenación generalizada de nuestras formas de vivir y entender la sociedad -basada en una concepción afrofuturista del mundo- al celebrar los motivos africanos, la cultura y la espiritualidad, aliados a la estética ya conocida del “futuro” (como la galaxia, las luces brillantes y los elementos robóticos). A través de su creación, el artista es capaz de presentar un futuro en el que las personas negras existen como protagonistas y en el que se celebra su cultura, su pasado y sus raíces.
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