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Le pouvoir de guérir

Mythe, mystique et politique au Maroc

Series:

Zakaria Rhani

Au Maroc, les mythes fondateurs des cultes et rituels de guérison illustrent de manière probante les processus d’élaboration des significations et des dynamiques du pouvoir dans le passé proche et leurs articulations actuelles. Des dynamiques qui se déploient en termes généalogiques, initiatiques et en des capacités socialement reconnues de susciter une communication avec le monde surnaturel. L’analyse centrée sur la confrontation entre saints et rois permet, par ailleurs, d’élargir à la dimension nationale, et au-delà, le rapport, hiérarchique, de conflit et d’articulation entre charisme personnel et charisme sharifien. Le mythe et ses expressions rituelles ouvrent, ainsi, les possibilités du renouvellement sociopolitique par les marges, voire même, dans l’actualité, sous couleur d’une révolution à l’horizon d’un millénarisme du califat.

In Morocco, the founding myths of healing cults and rituals illustrate conclusively the elaboration of the symbolism and dynamics of power, both in local and national contexts. These dynamics unfold specifically in terms of genealogical representations and mystical initiations, as well as in socially-recognized capacities to communicate with the supernatural. The analysis centered on the confrontation of saints and kings permits the expansion, to the national level and beyond, of the hierarchical tensions between personal charisma and sharifian charisma. Thus, the myth and its ritual expressions open up possibilities for socio-political renewal by the margins, or even more a renewal, taking place presently, in the form of a revolutionary millenarianism.

Grace Uchechukwu Adinku

Introduction Almost every society has rituals to mark the passing stage in the life of an individual. Van Gennep noted that rituals or rites are events that chronicle the social and symbolic action of a group of people. 1 The culture of people manifests through their art works. The

Abba A. Abba

martyr or as a mere suicide who presides ritually over his own dismemberment, or both. Although some lines of his poetry have been misread as embodying his ‘haunting’ death, some evidence of his self-giving impulse seems to position Okigbo as a tragic poet who transcends his destiny by submitting to it

Nick Mdika Tembo

In most African societies, traditional rituals are sometimes used as tools for cultural inferiorization of women and girls. Out of frustration, those at the receiving end of such rituals may resort to a variety of performative and subversive tactics aimed at debunking them in society. This essay seeks to examine Tracie Utoh–Ezeajugh's portrayal of women in “Out of the Masks.” The essay particularly seeks to examine how the dramatist responds to and represents the position and role of women in the traditional social context and in the context of changing social values in her play. Through a careful analysis of key episodes of five young women, the essay argues, an insurrection aimed at saving the female race “from further institutional molestation and humiliation” is successfully mounted in the play. In the end, female characters response to social, economic, political, and cultural oppression through their strategic planning and careful organization in the play.

Mohammed Inuwa Umar–Buratai

The discourses of nationhood and nation-building in the developed Western world have been facilitated by the prevalent cultures of writing and documentation. The situation in the developing world has remained largely fragmented because of the absence of such coherent, broadcast, and comprehensive forums for a discourse on 'nationhood'. Different societies articulate their perception of the priorities of nationhood in a range of forms – manifest in ritual visual displays, entertainment and formal rhetoric such as poetry, religious sayings and quotations – which were not dependent on literacy, including the ceremony of durbar. The ordinary people construe the durbar as a spectacle, perhaps because it encompasses a wide range of performance artists drawn from the many groupings within society. However, durbar functions, through its display of martial strength, to reinforce the political and religious power of the ruling elite: durbar within society. The focus in this essay is to examine political undertones of durbar, specifically the ways in which localized participation in the reinforcing ritual of relationships of power provides the people with an opportunity for the public exhibition of individual skills and for the elites an avenue for containing any nascent – or potential – articulation of resistance in society.

Durotoye A. Adelek

There is always a precursor in any well-established institution, and artistic institution is no exception. The fool tradition itself has its origin in Dionysian phallic rituals, or Greek, Roman and English festivals in general, thus serving as the springboard for the Shakespearean fool. Shakespeare then popularizes the fool character in his plays whereby he turns it into an institution. The Yorùbá playwrights, like others from any part of the world, seem to have been influenced by the Shakespearean fool tradition to a large extent. This essay, therefore, sets out to draw the Shakespearean parallel that is visible in the Yorùbá fool genre with special reference to the appearance, the role and language of fool. Copious examples are drawn from the written and film genres to back up the issue of parody. The essay concludes by paying attention to the mark of departure and what accounts for such a disparity.

Ademola Kazeem Fayemi

spirit, the communal and the individual, is a slim and flexible one.” 16 Tangwa notes that traditional Africans were communitarian in their social and ritual structures and practices, as well as in relation to the environment; their attitude toward nature and the rest of creation is that of respectful

Clifford Ezekwe Nwanna

confirm the hypothesis of Awka’s artisans being the producers of Nri-Igbo-Ukwu ritual bronze objects and that Awka smiths were already in existence before the Nri people. 6 The second tradition of origin is based on the theory of emigration, which is centred on a man called Nneoshi. Nneoshi lived at

Traversing Geography, Attaining Cognition

The Utility of Journey in the Postcolonial African Bildungsroman

Ogaga Okuyade

confirms the viability of the bildungsroman genre. As Grace Okereke states, “Mobility is fundamental in the construction of consciousness.” 24 The journey towards retrieval of Kambili’s voice begins with what would have been a permanent ritual of silence during Christmas celebration, if her aunt Ifeoma