Journal articles: 'Orishas'

1

Balogun, Françoise. "L'enfant des Orishas." Présence Africaine 159, no. 1 (1999): 226. http://dx.doi.org/10.3917/presa.159.0226.

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White, Steven F. ,tr, and Oliveira Silveira. "from Orixas [Orishas]." Callaloo 20, no. 1 (1997): 93–96. http://dx.doi.org/10.1353/cal.1997.0032.

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Goldwasser, Michele, and Alvaro Perez Betancourt. "Voices of the Orishas." Western Folklore 56, no. 2 (1997): 185. http://dx.doi.org/10.2307/1500210.

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Yero, Luis Rey. "Los orishas de Vilva." Revista Surco Sur 9, no. 12 (September 2019): 62–66. http://dx.doi.org/10.5038/2157-5231.9.12.18.

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Alexander, Will. "On the Forming Substance of Orishas." Callaloo 22, no. 2 (1999): 386–88. http://dx.doi.org/10.1353/cal.1999.0067.

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Repertório, Teatro &. Dança Periódico. "Pour une anthropologie des pratiques spectaculaires : le moment du spectacle, le temps de l’événement et le temps de l’enquête [Bernard Müller]." REPERTÓRIO, no. 12 (July 20, 2012): 35. http://dx.doi.org/10.9771/r.v0i12.4338.

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<div>Quand il est montré au Brésil, le théâtre yoruba du Nigeria est présenté comme une forme culturelle typiquement africaine, en l'occurrence yoruba. Pour son public américain, cette forme de théâtre qui met en scène des moments d'une saga des <em>orishas</em>, serait une sorte de témoin vivant de la culture que les ancêtres déportés ont quittée. Participer à une représentation de théâtre yoruba permettrait ainsi de se relier au monde des origines, ce monde idéal situé en Afrique avant la traite négrière, c'est-à-dire avant la « contagion » moderne. Pourtant, aux yeux des adeptes des cultes des <em>orishas</em> des villes de l'intérieur du pays yoruba au Nigeria, cette forme de théâtre est un genre considéré comme « amaro », c'est-à-dire « brésilien ». On tentera d'expliquerce paradoxe en montrant comment le théâtre yoruba s'inscritdans une histoire transatlantique dont les dynamiques informent d'une construction sociale complexe, et contemporaine. <br /></div>

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Dalago, Renan da Silva, and Altamir Botoso. "Mito y Orisha." REVELL - REVISTA DE ESTUDOS LITERÁRIOS DA UEMS 1, no. 34 (April 12, 2023): 305–24. http://dx.doi.org/10.61389/revell.v1i34.7087.

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Los itans traen en sí mismos las historias de los orishas a través de narrativas simbólico-imaginarias que portan significados, mensajes y representaciones. La cultura afrobrasileña tiene una gran cantidad de dioses mitológicos, los Orishas, conocidos por cuentos e historias, que contienen enseñanzas sobre sus personalidades, gobernaciones, debilidades y dominios. A partir de esta observación, el presente trabajo analiza la reinterpretación del itan del amor de Oshún y Oshosi, en el video musical Onda, del cantante de São Paulo Mc Tha. Al comparar las narraciones mitológicas (itans) de Oshún y Oshosi y el videoclip, se verifica la presencia de símbolos que remiten a las historias de estas deidades y se verifica que, al utilizar la mitología afrobrasileña en la construcción poético-literaria, el audiovisual rinde homenaje a estas deidades. Como apoyo al análisis, se usan las siguientes obras: O que é mito, de Everardo Rocha (1996), O poder do Mito, de Joseph Campbell (1988), Mito e Significado, Claude Levi-Strauss (1978), Mitologia dos Orixás, de Reginaldo Prandi (2001) y Orixás Deuses Iorubás na África e no novo mundo, de Pierre Fatumbi Verger (2018).

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Martins, Leda Maria. "A Ritual Choreography: The Orishas' Steps in Sortilegio." Callaloo 18, no. 4 (1995): 863–70. http://dx.doi.org/10.1353/cal.1995.0147.

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9

Ramsdell, Lea. "Cuban Hip-Hop Goes Global: Orishas' A lo cubano." Latin American Music Review 33, no. 1 (June 2012): 102–23. http://dx.doi.org/10.7560/lamr33104.

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Beinert, Richard A. "Book Review: Religion as Art: Guadalupe, Orishas, and Sufi." Studies in Religion/Sciences Religieuses 43, no. 3 (September 2014): 538–40. http://dx.doi.org/10.1177/0008429814540383k.

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11

Mohanty, Panchanan, and Subrat Kalyan Pattanayak. "Term Planning in Oriya." Language Problems and Language Planning 20, no. 2 (January 1, 1996): 116–26. http://dx.doi.org/10.1075/lplp.20.2.02moh.

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ZUSAMMENFASSUNG Terminologieplanung im Orija: Probleme und Aussichten Während der britischen Kolonialherrschaft wurde das Orija durch die in ganz Indien stetig zunehmende Bedeutung des Englischen in eine zweitrangige Position gedrängt. Die nationalistische Bewegung in Orissa zwischen 1868 und 1870 brachte die Verwendung des Orija als moderne Sprache ernsthaft in Gang. Ihre frühere Position konnte die Sprache jedoch nicht wiedererlangen. Als 1936 der Staat Orissa gegründet wurde, scheiterte der Versuch, das Orija zu dessen Amts-sprache zu machen und seinen Wortschatz durch Terminologieplanung zu modernisieren. Ursachen hierfür waren das mangelnde Sprachbewußtsein der Orija, die pro-englische Einstellung der Beamtenschaft und ein zaghafter Korpusplanungsversuch, der sowohl im Widerspruch zu den Grundsätzen der Terminologieplanung selbst als auch zu denen des Ständigen Ausschusses für wissenschaftlich-technische Terminologie (SCSTT) stand. RESUMO Terminplanado en la orisa: problemoj kaj prognozoj Sub la brita regado, la kreskanta hegemonio de la angla en la tuta Bharato sovis la orisan al la duarangeco. La naciisma movado en Orisio inter 1868 kaj 1870 iniciatis seriozan kultivadon de la orisa kie l moderna lingvo. Sed la orisa ne trafis sukcesan revenon. Post la starigo de la stato Orisio en 1936, la klopodo fari la orisan la oficiala lingvo de Orisio kaj modernigi gian elementaron per la terminplanado malsukcesis. Ci tion kaüzis la manko de la lingva konscio inter la orisoj, la por-angla sinteno de la orisaj burokratoj, kaj hezitema elementaro-planada manovro, kiu malobservas la proprajn principojn de la terminplanistoj kaj ankaü tiujn, kiujn formulis la federacia Konstanta Komisiono por la Sciencaj kaj Fakaj Terminoj (SCSTT).

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Kieżel, Bogusław. "Orishas in Cuban Santería According to Nelson Marcos Aboy Domingo." Rocznik Teologii Katolickiej 16, no. 1 (2017): 7–20. http://dx.doi.org/10.15290/rtk.2017.16.1.01.

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13

Olmos, Lioba Rossbach de. "Pérez Amores, Grecy: Sin monte sigue habiendo Palo. Orishas en Tenerife." Anthropos 109, no. 2 (2014): 730–32. http://dx.doi.org/10.5771/0257-9774-2014-2-730.

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Ramsdell, Lea. "Cuban Hip-Hop Goes Global: Orishas' A lo cubano." Latin American Music Review 33, no. 1 (2012): 102–23. http://dx.doi.org/10.1353/lat.2012.0001.

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15

López de Jesús, Lara I. "From nueva trova to Cuban Rap: Strategies of Resistance and Negotiation in the Group Orishas." RMx.C Revista Mexicana del Caribe 01, no. 21 (June 5, 2016): 122–43. http://dx.doi.org/10.22403/244871632016012104.

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López de Jesús, Lara I. "De la nueva trova al rap cubano: resistencia y negociación de Orishas." Revista Mexicana del Caribe 01, no. 21 (June 5, 2016): 118–39. http://dx.doi.org/10.22403/uqroomx/rmc21/04.

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17

Manichkin, Nestor. "Orishas against the virus: Afro-Cuban cults, cyberspace and the COVID-19 pandemic." Shagi / Steps 7, no. 4 (2021): 198–220. http://dx.doi.org/10.22394/2412-9410-2021-7-4-198-220.

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18

Biermann, Clara. "Composer avec les orishas. Acteurs et actrices de la religiosité du candombe afro-uruguayen." Civilisations, no. 67 (August 12, 2018): 129–49. http://dx.doi.org/10.4000/civilisations.5069.

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19

Crowley, Daniel J., and Abdias do Nascimento. "Orixás: Os Deuses Vivos da Africa (Orishas: The Living Gods of Africa in Brazil)." African Arts 31, no. 3 (1998): 93. http://dx.doi.org/10.2307/3337591.

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Maxime Toutain. "La Influencia Del Culto A Los Orishas En La Patrimonialización Del Central Méjico (Matanzas)." International Journal of Cuban Studies 8, no. 2 (2016): 329. http://dx.doi.org/10.13169/intejcubastud.8.2.0329.

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21

Giral, Claudine. "Un dispositif de structuration psychocorporelle dans la danse des Orishas, divinités Afro Cubaines du panthéon Yoruba." Thérapie Psychomotrice et Recherches N° 186, no. 2 (January 9, 2022): 116–22. http://dx.doi.org/10.3917/tpr.186.0116.

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22

Favaro, Jean Filipe, Hieda Maria Pagliosa Corona, and João Daniel Dorneles Ramos. "Composições de pessoas e mundos na cosmopolítica afro-religiosa: a rede de relações no agenciamento das comidas dos orixás." Religião & Sociedade 42, no. 2 (August 2022): 21–42. http://dx.doi.org/10.1590/0100-85872022v42n2cap01.

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Resumo: Este artigo tem por objetivo compreender de que modo os alimentos são agenciados na cosmopolítica afro-brasileira. Etnografias foram realizadas no terreiro Abaça de Oxalá, dirigido pelo Pai Aldacir, desde 2016. As discussões, que aqui apresentamos, advêm das diferentes formas e categorias do coletivo afro-religioso em agenciar as “comidas dos orixás”. A necessidade de nutrir, regularmente, as potências cósmicas é entendida pelo conceito de obrigação, que assegura vitalidade e saúde à pessoa, às entidades e a toda corrente do terreiro. As composições do padê, do sacrifício de animais, do cuidado com as quartinhas, dos ebós e de outros modos nos quais alimentos compõem o fundamento da cosmopolítica afro-religiosa, estão vinculadas às concepções dos orixás, bem como de corpo e território, em suas múltiplas associações.

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23

Aiyejina, Funso, and Rawle Gibbons. "Orisa (Orisha) Tradition in Trinidad." Caribbean Quarterly 45, no. 4 (December 1999): 35–50. http://dx.doi.org/10.1080/00086495.1999.11671867.

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dos Reis, Aparecido Francisco. "We Only Need the Holy Signs, the Saints are Here Just to Make People Feel at Home." Anthropology and Ethnology Open Access Journal 5, no. 2 (2022): 1–7. http://dx.doi.org/10.23880/aeoaj-16000191.

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This paper on an Umbanda worship space is part of a research with the religions of African and Amerindian matrix, conducted in the years 2015-16 at the request of the 67th Prosecutor’s Office for Human Rights of the State Public Prosecution Service of Mato Grosso do Sul and the Federation of Afro-Brazilian and Amerindian Cults of the State of Mato Grosso do Sul. As requested, several worship spaces were visited and 2 Fathers-of-Saint, 2 Mothers-of-Saint and 1 Babalorishá were interviewed, with the purpose of demonstrating to the municipal authorities that worship space cults should be considered religions, just like the others present in the municipality. Specifically, this paper analyzes the process of re-signification of Catholic saints in Umbanda as part of the hybridization and syncretism of worship space cults. The methodology consisted of visits to several worship spaces, interviews, and specifically in this case, we will analyze this process of re-signification based on the interview with Mother-of-Saint Fátima, coordinator of the Cabocla Janaína Worship Place in Campo Grande. Her speech has shown that the meanings of the Catholic saints in Umbanda, may be to make familiar a religion considered exotic, or even to syncretize the attributes and roles of the saints and orishas.

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Pérez Amores, Grecy. "Orishas, turistas y practicantes. La comercialización del patrimonio religioso en Cuba: un ejemplo de estrategia de revitalización identitaria y económica." PASOS Revista de turismo y patrimonio cultural 8, no. 1 (2010): 167–84. http://dx.doi.org/10.25145/j.pasos.2010.08.013.

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Caicedo, Laura. "The Individual at the End of Time, and Paths Beyond." Latin American Literary Review 48, no. 96 (August 3, 2021): 75–78. http://dx.doi.org/10.26824/lalr.253.

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Ana-Mauríne Lara’s Erzulíe’s Skirt, a contemporary novel set in the Dominican Republic which follows the lives of multiple generations of women, constantly moves between and outside of borders, whether they be geopolitical, temporal, or in narrative form. Just as well, Rita Indiana’s Tentacle, a speculative novel also set in the Dominican Republic, challenges borders through the story of its main protagonist and his struggles with spirits, queerness, and the politics of a dying world. Both novels utilize the environment as a grounding force that provides insight into the respective trials the characters face, both within the scope of the orishas’ continued presence as both spirits and representatives of the land and water which informs much of the narratives, and the spatiotemporal politics of the Dominican Republic. Through the machinations of the spirits who guide the characters in both novels, and the consistent engagement with questions of family, queer lifeworlds, and time, Lara and Indiana demonstrate the interconnectedness of borders, environments, and time to varying ends. By providing narratives which begin to map out worlds beyond death, be they ends or beginnings, the authors contend with the violences of the past in ways that point to the potentialities of the future. What these futures look like, as Tentacle and Erzulie’s Skirt tell us, ultimately rely on the limitations or unboundedness of our imaginations.

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Krippner, James. "Religion as Art: Guadalupe, Orishas, and Sufi. Edited by Steven Loza. Albuquerque: University of New Mexico Press, 2009. Pp. xiii, 353. Notes." Americas 68, no. 01 (July 2011): 151–52. http://dx.doi.org/10.1017/s000316150000095x.

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Krippner, James. "Religion as Art: Guadalupe, Orishas, and Sufi. Edited by Steven Loza. Albuquerque: University of New Mexico Press, 2009. Pp. xiii, 353. Notes." Americas 68, no. 1 (July 2011): 151–52. http://dx.doi.org/10.1353/tam.2011.0098.

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Hackett, Susanne. "A re-visionist Her-story of De cierta manera ([1974] 1977): Reading Yoruba myth in Sara Gómez’s revolutionary classic¹." Studies in Spanish & Latin-American Cinemas 18, no. 2 (June 1, 2021): 195–210. http://dx.doi.org/10.1386/slac_00046_1.

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Recent scholarship on Sara Gómez has expanded upon existing discourse on her work beyond her singular feature film, De cierta manera/One Way or Another ([1974] 1977) to examine not only her earlier documentary shorts of the 1960s, but to demonstrate the impact that her body of work has had on a subsequent generation of Cuban filmmakers who continue her mission to critique the Revolution through an antiracist and feminist lens ‐ contemporary filmmakers such as Gloria Rolando, Sandra Gómez and Susana Barriga. This article seeks to push this conversation forward by arguing several interrelated points: (1) that De cierta manera contains symbolic, visually embedded references to a specific patakí (myth) about the Afro-Cuban orishas Ogun and Ochún; (2) that De cierta manera holds this in common with Gloria Rolando’s Oggun: An Eternal Presence (1991), which tells the patakí in a more explicit manner, and therefore the two films warrant comparison and (3) lastly, that this interpretation of De cierta manera offers a novel take on a ‘classic’ Cuban revolutionary film, offering additional interpretive layers that do not change the message of the film, per se, but complicate it by adding an additional filter through which to view and interpret it: that of Yoruba moral philosophy. The Afro-Cuban word patakí in Cuban Lucumí liturgical speech refers to a parable with a moral lesson, and is derived from the word pàtàkì, which means ‘[something] important’ in the Yorùbá language of West Africa. This article will attempt to answer how and why this particular myth is ‘important’ (pàtàkì) to the reading of De cierta manera and argue for a broader re-centring and privileging of African-derived philosophical frameworks within Cuban intellectual history and popular culture.

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Tanabe, Akio. "Genealogies of the “Paika Rebellion”: Heterogeneities and Linkages." International Journal of Asian Studies 17, no. 1 (January 2020): 1–18. http://dx.doi.org/10.1017/s1479591420000157.

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AbstractThe “Paika Rebellion” of 1817 in Orissa, India has been depicted by colonial officers as a local disturbance caused by the dissatisfaction of one powerful individual deprived of traditional privileges who instigated the pāikas. The nationalist reconstruction has depicted the event as a popular freedom movement involving various castes and classes of Orissan society. This has culminated in a current move to declare the “Paika Rebellion” the First Indian War of Independence. I would like to suggest a third perspective, which focuses on the heterogeneities and linkages of the Rebellion. It is important to note that the “Paika Rebellion” was a meeting point of plural genealogies: “tribal” revolts to protect autonomy, “peasant” resistance to secure livelihood, restorative attempts by the traditional landed class, and ruling class efforts to defend and expand authority. Appreciating the plural genealogies of the Rebellion leads to more perceptive understandings of the heterogeneous characteristics of popular movements and their aftermaths in modern India. Lastly, in order to go beyond colonial and dominant-caste centred perspectives, I propose that we name it the “Orissa Uprising of 1817”.

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James, N. "Double identity in Orissa's Golden Triangle." Antiquity 74, no. 285 (September 2000): 682–87. http://dx.doi.org/10.1017/s0003598x00060063.

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The Medieval Hindu temples of Puri, Rhubaneswar and Konark are promoted as Orissa's version of northern India's ‘Golden Triangle’ of Agra, Fatehpur Sikri and Jaipur. One of the less affluent States in India, Orissa stands to benefit from tourism (FIGURE 1). The promotion seeks to appeal to all Indians and foreigners and also to prompt an image of Orissa as a distinct region. Such duality is typical among the diversity of community, ethnic, communal, federalist and national values at issue in India (Chatterjee 1993: 75).Cultivation of the temples is nothing new. Whatever the original purposes of icons, significance is ascribed, not simply inherent. It depends on economic or political interest and context (Cohen 1985). Harrison (1999) has argued that images of ethnicity tend to be defended as if at risk of pollution or theft by outsiders. Under the influence of European ideology, the commonest symbol for ethnic or nationalist aspiration is language but religion and other markers of culture have been used too (Smith 1981). Other than religion, one of the criteria for invoking the temples is the discipline of archaeology. However, archaeology too is a Western conceptual idiom (Cohn 1983: 209). Although literacy — including in the ‘English medium’ — is spreading, archaeology is not appreciated by everyone in Orissa. Partly for that reason, there have been various views as to how the temples should be presented and to whom.

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Mallebrein, Cornelia, and Lidia Guzy. "Facets of Orissan Studies — An Introduction to Current Interdisciplinary Research on Orissa." Journal of Social Sciences 8, no. 2 (March 2004): 85–86. http://dx.doi.org/10.1080/09718923.2004.11892404.

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Font-Navarrete, David. "Writing Orisha Music: Text, Tradition, and Creativity in Afro-Cuban Liturgy." Religions 12, no. 11 (November 3, 2021): 964. http://dx.doi.org/10.3390/rel12110964.

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This essay examines the flow of music associated with orisha—anthropomorphic deities—across networks defined variously by art, scholarship, folklore, and religion, all of which overlap and nourish each other. Transmitted via oral tradition, written texts, and multimedia technologies, a handful of orisha-themed songs are analyzed as case studies in the subtle nexus of liturgy and cultural authenticity. Taken together, the songs shed light on a broader phenomenon in which creatively-minded, ostensibly-secular iterations of culture play a significant role in the dissemination and ongoing codification of ritual orthodoxy. Orisha music traditions are analyzed as a fertile ground for a multitude of devotional and/or artistic expressions, many of which have a particularly ambiguous relationship to the concept of religion. In this context, the fluid movements of orisha music between ostensibly sacred and secular contexts can be usefully understood as not only common, but as a conspicuous and characteristic aspect of the tradition. The essay’s structure and rhetorical strategies offer distinct layers of cultural and historical commentary, reflecting a multi-vocal tradition of exchanges among orisha music scholars, artists, and ritual experts. The essay’s historical analysis of orisha music further suggests that a host of subtle, seldom-discussed phenomena—multilingualism, liturgical ambiguity, and transmission via multimedia technologies—are not necessarily aberrant or irregular, but rather vital themes which have resonated clearly across the Afro-Atlantic for at least a century. By obligating us to attend to both musical meaning and cultural context, the essay’s case studies of orisha music shed light on the mingling and synthesis of elements from varied historical sources, languages, and cultural idioms, each of which represent distinct notions of tradition, creativity, religiosity, and secularism.

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Castor, N. Fadeke. "Ifá/Orisha Digital Counterpublics." Black Scholar 52, no. 3 (July 3, 2022): 17–29. http://dx.doi.org/10.1080/00064246.2022.2079065.

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Brian, Marie. "Orisons." Dialogue: A Journal of Mormon Thought 39, no. 3 (October 1, 2006): 145. http://dx.doi.org/10.2307/45227292.

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Marcuzzi, Michael. "Ring-Around-the-Rosie Atlantic: Transatlantic Uses of Rings Among Bata Drummers, Caravan Guards, and Muslim Insurgents." Journal of Religion in Africa 43, no. 1 (2013): 29–52. http://dx.doi.org/10.1163/15700666-12341243.

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Abstract In the preparation of the bata drums of Cuba and Yorubaland, ritual specialists affix a small iron ring near the smaller of the two heads of these drums. The ring is the material marker that the drums are consecrated, imbued with the power of Ayan, the orisha of drumming. This study looks to other appearances of iron rings and iron idiophones along sub-Saharan trade routes connected to the Oyo Empire, the ‘source’ of bata drumming. The study links the use of rings in these regions to iconic sites of Yoruba culture in the Americas—Brazil and Cuba—as a means of revisiting some of the dominant narratives in the constructed past of orisha worship on both sides of the Atlantic, before and after the transatlantic separation. The prominence given to the Oyo-Shango complex in American forms of orisha worship is considered here to be unwarranted.

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Thompson, Sheneese. "The Proliferation of Yorùbá Religion in the Atlantic during the Nineteenth Century: The Portability of the Orisha." Yoruba Studies Review 7, no. 2 (January 19, 2023): 1–16. http://dx.doi.org/10.32473/ysr.7.2.132800.

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This paper seeks to analyze how Yorùbá religion and culture proliferated so widely throughout the Americas, though Yorùbá peoples comprised so little of the total percent of slaves imported to Trinidad, Brazil, and Cuba. Orisha worship managed to eclipse the religious practices of a more populous and well-established group like the West Central Africans. This essay argues that the highly organized and urbanized socio-religious structure of the Yorùbá Orisha lent itself to transportability. Thus, the Yorùbá system was reconstructed in the New World than some of its more localized counterparts in the Bight of Benin and Biafra regions, specifically the Kangas of modern Liberia, whose religious practices are more localized. The essay provides an overview of the Yorùbá socio-religious structure as it was practiced in Yorùbáland in the mid to late 19th Century, as well as the parallel structures in Trinidad, Brazil, and especially Cuba. The best documented region to establish how the socio-religious structures are replicated after Yorùbá people were dispersed into the Americas during the Trans-Atlantic Slave Trade. The Yorùbá pantheon is boundless; this paper will explore the transportability of the orisha through three of the representative deities that arrived in the New World: Ogun, Shango, and Oshun.

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MOHAPATRA, M., and U. C. MOHANTY. "Excess and deficient summer monsoon rainfall over Orissa in relation to low pressure systems." MAUSAM 60, no. 1 (November 27, 2021): 25–38. http://dx.doi.org/10.54302/mausam.v60i1.959.

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A study has been undertaken to find out different characteristics like frequency, intensity, movement, region of occurrence etc. of low pressure systems (LPS) including low, depression and cyclonic storm etc. developing over Orissa and neighbouring sea and land regions during excess and deficient monsoon rainfall months (June – September) over Orissa. The study is based on data of 20 years (1980-1999). The principal objective of this study is to find out the contribution of LPS to extreme monsoon rainfall activity over Orissa. The number of LPS days rather than frequency of formation of LPS over different regions better explain the excess and deficient rainfall over Orissa. The excess rainfall over Orissa during June is not significantly related with the number of LPS days. Significantly less than normal number of LPS days over northwest (NW) Bay of Bengal and Gangetic West Bengal (GWB) and higher number of LPS days over west central (WC) Bay off north coastal Andhra Pradesh (NCAP) cause deficient rainfall over Orissa during June. While significantly higher than normal number of LPS days over NW Bay and Orissa leads to excess rainfall during July, less than normal number of LPS days over WC Bay off NCAP is associated with excess rainfall during August. The less number of LPS days over Orissa due to less frequent movement of LPS across Orissa from the Bay of Bengal leads to deficient rainfall over Orissa during both July and August. Significantly higher/less than normal number of LPS days over NW Bay leads to excess/deficient rainfall over Orissa during September.

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Vargas-Cetina, Gabriela. "Dos narizones no se pueden besar. Trayectorias, usos y prácticas de la tradición Orisha en Yucatán by Nahayelli Beatriz Juárez Huet (A Book Review)." Review of International American Studies 13, no. 1 (August 16, 2020): 285–90. http://dx.doi.org/10.31261/rias.9625.

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Juárez Huet, Nahayelli Beatriz. Dos narizones no se pueden besar. Trayectorias, usos y prácticas de la tradición Orisha en Yucatán, Publicaciones ciesas, 2019. -- a book review by Gabriela Vargas-Cetina

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Chirila, Alexander. "The River That Crosses an Ocean: Ifa/Orisha in the Global Spiritual Marketplace." Qualitative Sociology Review 10, no. 4 (October 31, 2014): 116–51. http://dx.doi.org/10.18778/1733-8077.10.4.06.

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Ifa/Orisha, the traditional spiritual practice of the Yoruba nation, has entered the global spiritual marketplace. With thousands of worshipers on both sides of the Atlantic, practitioners and participants are engaging new arenas of discourse. In southwest Nigeria, storytellers are expressing the living religion through narratives that are relevant, adaptable, and meaningful in a plurality of contexts. From the often antagonistic relationship between Ifa/Orisha and the Abrahamic faiths, to the challenges posed by modernity and globalization, practitioners are renegotiating the identity of their religion in social and philosophical ways. Interpreting data gathered from interviews conducted in Nigeria and the United States, I present a qualitative analysis of how practitioners, participants, and non-practitioners interact with the fundamental premises underlying the matrix of symbols, rites, and narratives that represent traditional Yoruba religion.

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Mukhopadhyay, Alok. "Aparajita Orissa." Promotion & Education 14, no. 2 (June 2007): 74–75. http://dx.doi.org/10.1177/10253823070140021601.

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Capone, Stefania. "The Orisha religion in a transnational perspective." Social Compass 69, no. 2 (May 31, 2022): 135–52. http://dx.doi.org/10.1177/00377686221083515.

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This International Society for the Sociology of Religion (ISSR) keynote lecture offers a glimpse on 20 years of research on the transnationalization of Orisha religion in the ‘Black Atlantic’. By expanding Gilroy’s analyses to include the South Atlantic, and in particular, Brazil and Nigeria, I focus on the diffusion of these religious practices in a tricontinental space of circulation. The transnational ‘Yoruba’ community is constituted on both sides of the Atlantic, thanks to the continuous exchanges between these two territories. If the Yoruba identity in Nigeria needs its American ‘mirror’ to exist, the so-called ‘globalization of the Orisha religion’ is the product of this incessant negotiation between different versions of the Yoruba tradition in Africa as well as in the diaspora. This also includes the persisting role of nation in transnational processes and the issue of religious (im)mobilities, showing that religious transnationalization is not necessarily linked to migration.

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Escalante, Alejandro Stephano. "Trans* Atlantic Religion." TSQ: Transgender Studies Quarterly 6, no. 3 (August 1, 2019): 386–99. http://dx.doi.org/10.1215/23289252-7549484.

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Abstract This article is about spirit possession in Cuban Santería and how the relationship between an orisha and their devotee reveals an unstable gender identity that avails itself to trans* studies. Taking an ethnographic scene from the work of Aisha M. Beliso-De Jesús, wherein a female devotee named Belkis is possessed by her male orisha Changó, this article argues that Santería offers a genderqueer way of understanding the relationship between gods and humans. It makes use of Jack Halberstam's differentiation between “trans*” and “trans,” in which the former allows for myriad gender identities and contradictions that the stability of “trans” might otherwise seek to concretize. The modification of “transatlantic” to “trans* Atlantic” allows for a consideration of the fluidity of genders and sexuality that is often missed in black Atlantic studies and highlights the important role of religion in gender and black Atlantic studies.

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Juárez Huet, Nahayeilli. "Santería a la mexicana: vaivenes multiescalares." Perspectivas Afro 2, no. 1 (December 19, 2022): 120–38. http://dx.doi.org/10.32997/pa-2022-4118.

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El presente artículo forma parte de una investigación más amplia sobre los procesos multiescalares de circulación, articulación y anclaje de la tradición orisha en México. Tiene como objetivo, por un lado, mostrar la potencialidad de pensar dicha religiosidad en términos de circulación y conexiones, y por otro, ilustrar parte de las reconfiguraciones religiosas del México contemporáneo, caracterizadas entre otros aspectos por las disonancias entre prácticas, creencias y pertenencias. Parto de algunas claves históricas para ubicar el vaivén trasatlántico de la tradición orisha y su ruta a México, particularmente desde su variante cubana conocida como santería. En un segundo momento se abordan los rasgos generales de su circulación y diseminación en México. Finalmente reconstruyo la ceremonia de Yemayá en Yucatán, a partir de la cual ilustro etnográficamente algunas de las articulaciones que nos premiten definir a esta religiosidad en México como una religiosidad bisagra a la mexicanizada.

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Vahid, Farhad, Alex Brito, Gwenaëlle Le Coroller, Michel Vaillant, Hanen Samouda, and Torsten Bohn. "Dietary Intake of Adult Residents in Luxembourg Taking Part in Two Cross-Sectional Studies—ORISCAV-LUX (2007–2008) and ORISCAV-LUX 2 (2016–2017)." Nutrients 13, no. 12 (December 7, 2021): 4382. http://dx.doi.org/10.3390/nu13124382.

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Background: A balanced diet is an important lifestyle component and has been associated with a reduced risk of chronic diseases. Objectives: To assess dietary intake of adult residents in Luxembourg taking part in two population-based cross-sectional studies (ORISCAV-LUX, 2007–2008 and ORISCAV-LUX 2, 2016–2017). Methods: Dietary intake of the study participants (1242 in 2007/08 and 1326 in 2016/17), 25–69 years old, were evaluated using food-frequency questionnaires (134 items in 2007/2008 and 174 items in 2016/2017) according to the French ANSES-CIQUAL food composition database. Both food-group- and nutrient-based analyses were conducted. Results: Dietary patterns in ORISCAV-LUX 2, 2016–2017, were characterized by an increase in the estimated marginal means (EMM) of the intake of energy, total fat, saturated fatty acids, alcohol, and decreased EMM of total carbohydrates, magnesium, and calcium compared to 2007/08. We also observed an increased EMM of the intake of protein-rich food items and ready-to-eat foods/fast foods, together with a decreased intake of grains, dairy products, and vegetables (all p-values <0.05, linear mixed models). The intake of most micronutrients was stable or slightly increased in ORISCAV-LUX 2 vs. ORISCAV-LUX, except for the drop in magnesium and calcium, and generally met recommendations, in particular, EFSA population reference intakes (PRI), except for vitamin D. Conclusions: Though most micronutrient recommendations were met, nutrient consumption in terms of high energy, total fat, and sodium, as well as low carbohydrates, were not aligned with recommendations for balanced eating.

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Христофорова, О. Б. "From Anxiety to Pride, From Anger to Joy: Emotions in Cuban Santería." ТРАДИЦИОННАЯ КУЛЬТУРА 24, no. 3 (September 25, 2023): 60–76. http://dx.doi.org/10.26158/tk.2023.24.3.005.

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Исследование эмоций в связи с фольклорными текстами и ритуальными практиками — важное направление современной фольклористики. Особый интерес это направление приобретает в тех случаях, когда культурные системы придают специальное значение эмоциональным состояниям и телесным ощущениям людей, считая их «божественными сообщениями», требующими расшифровки. Афро-кубинский синкретический культ сантерия (Рéгла де Óча-Ифá) — одна из таких символических систем, придающих особое значение эмоциям адептов. В статье на основе полевой работы автора на Кубе в 2013–2016 гг. исследуются эмоции в рамках сантерии. Рассмотрены эмоции в повседневной жизни адептов сантерии разных степеней посвящения и эмоции в контексте ритуалов и сценических представлений. Делается различие между эмоциями людей и конструируемыми эмоциями ориша — божеств сантерии. Эмоции в повседневной жизни рассмотрены как мотивы, моделирующие поступки людей; эмоции в ритуале и на сцене — как знаки присутствия ориша. Описаны способы, с помощью которых адепты сантерии примиряют культурный «список эмоций», эмоциональные шаблоны и разнообразие эмоциональных проявлений в ритуале. Использование семиотического подхода позволяет выделить основания для различий ритуального и сценического перформанса, роли в них эмоций и эмоциональных выражений. Статья подготовлена в рамках выполнения научно-исследовательской работы государственного задания РАНХиГС. The study of emotions in connection with folklore texts and ritual practices is an essential trend in modern folkloristics. It is especially interesting when cultural systems attach special significance to people’s emotional states and bodily sensations, considering them as “divine messages” that require deciphering. The Afro-Cuban cult of Santeria (Regla de Ocha-Ifa) is one such symbolic system that gives special meaning to the emotions of its adepts. Based on the author’s fieldwork in Cuba from 2013 to 2016, this article explores emotions within Santeria. The author examines emotions in the daily life of followers of various degrees of initiation and their emotions in the context of rituals and stage performances. She distinguishes between their human emotions and the presumed emotions of the Orisha, the deities of Santeria. Emotions in everyday life may be seen as motives shaping people’s actions; emotions in ritual and on stage serve as signs of Orisha’s presence. The author describes how adherents of Santeria reconcile the universal “list of emotions” developed by ethologists with their own personal emotional patterns and those manifested in ritual. Using a semiotic approach highlights the distinction between ritual and performance as well as the role of emotions and emotional expressions in them. The article is a part of the RANEPA state assignment research programme.

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Castillo, Lisa. "Bamboxê Obitikô e a expansão do culto aos orixás (século XIX): uma rede religiosa afroatlântica." Tempo 22, no. 39 (April 1, 2016): 126–53. http://dx.doi.org/10.20509/tem-1980-542x2016v223907.

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Mogalekar, Havagiappa Sharnappa, and Johnson Canciyal. "Freshwater fishes of Orissa, India." Journal of Fisheries 6, no. 1 (March 24, 2018): 587–98. http://dx.doi.org/10.17017/j.fish.27.

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Varied freshwater resources of Orissa blessed with diverse fish fauna. In total, 186 species of fishes belonging to 11 orders, 33 families and 96 genera were recorded from various freshwater bodies of Orissa. Cypriniformes was the most dominant order and Cyprinidae was diverse family. The trophic level of fishes of Orissa ranged from 2.0 to 4.5 containing 62.41% of carnivorous species. Fishery status revealed existence of 120 species worth for capture fishery, 101 species worth for ornamental fishery, 37 species worth for culture fishery and 25 species worth for sport fishery. Threat status comprises of one Critically Endangered species, five Endangered species, three Vulnerable species and remaining 177 species were Not Threatened. The findings of present communication may serve as baseline information for planning, conservation and management of fish and fisheries resources of Orissa.

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Mogalekar, Havagiappa Sharnappa, and Johnson Canciyal. "Freshwater fishes of Orissa, India." Journal of Fisheries 6, no. 1 (March 24, 2018): 587. http://dx.doi.org/10.17017/jfish.v6i1.2018.246.

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Varied freshwater resources of Orissa blessed with diverse fish fauna. In total, 186 species of fishes belonging to 11 orders, 33 families and 96 genera were recorded from various freshwater bodies of Orissa. Cypriniformes was the most dominant order and Cyprinidae was diverse family. The trophic level of fishes of Orissa ranged from 2.0 to 4.5 containing 62.41% of carnivorous species. Fishery status revealed existence of 120 species worth for capture fishery, 101 species worth for ornamental fishery, 37 species worth for culture fishery and 25 species worth for sport fishery. Threat status comprises of one Critically Endangered species, five Endangered species, three Vulnerable species and remaining 177 species were Not Threatened. The findings of present communication may serve as baseline information for planning, conservation and management of fish and fisheries resources of Orissa.

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McKenzie, Peter. "HAIL ORISHA! DEFENDED: A RESPONSE TO JAMES COX." Journal of Religion in Africa 32, no. 1 (2002): 110–19. http://dx.doi.org/10.1163/15700660260048492.

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Journal articles on the topic 'Orishas'

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