Wednesday, April 30, 2014

Work Cited

Work Cited 
Jaimoukha, Amjad. Circassian Wedding Festivals. Rep. N.p.: n.p., n.d.Circassian Festivals and Ceremonies. International Centre for Circassian Studies (ICCS). Web. 24 Apr. 2014.

Harman, William. "The Hindu Marriage as a Soteriological Event."International Journal of Sociology 17.2 (1987): 169-82. Web. 24 Apr. 2014.

Krutak, Lars. "Making Boys into Men: The Skin-cutting Ritual of the Kaningara Tribe of Papua New Guinea." Lars Krutak. N.p., n.d. Web. 27 Apr. 2014.

"The Quinceañera Celebration." The Quinceañera Celebration. University of North Carolina at Chapel Hil, n.d. Web. 29 Apr. 2014.

"Birth, Death and Rebirth: Sky Burial and the Cyclical Cosmos of Tibetan Buddhism." Maa.missouri.edu. University of Missouri, 31 Jan. 2014. Web. 30 Apr. 2014.

Larson, Lin. "Remarkable People-Richard Brent Turner." Uiowa.edu. The University of Iowa, 25 Jan. 2010. Web. 26 Apr. 2014.

Death Rituals in Tibetan and New Orleans Culture

Tibetan ‘Sky Burial’
Tibetan Buddhists like most Buddhists believe in reincarnation. ‘Sky Burial’ is not actually a burial but refers to the feeding of ones corpse to the vultures. The traditional term for this is jhator, which means “giving alms to the birds”. The event always happens at dawn in a specified location usually near a mountain or hill. The deceased’s relatives and loved ones are kept close but are out of sight of the actual feeding of the birds, as it can be a very brutal practice. As part of the ritual the dead body is cut into small pieces and flayed to become more appetizing for the vultures. “They also beat the bones and flesh against the rock to create a pulp, which is mixed with barley flour, tea, butter, and milk. This mixture is then left for the vultures”.
Throughout the entire process the monks in charge incorporate the use of costumes and tools made from human bones. This is to combat the fear of death, and instead making it seem like just another phase in the cycle of life. Buddhists believe death is merely arriving at rebirth, which reinforces the notion that our physical bodies are unimportant and temporary, whereas our minds are forever. Buddhists believe that however you dispose of ones body after death, the mind will always leave the body and take a new form as it has in the past. By feeding their corpses to vultures Tibetan monks are acknowledging the ending of their life and helping prolong the life of another living creature. This also serves as an indicator of the Tibetan Buddhists oneness with nature and their surroundings.



Jazz Funerals in New Orleans
            In New Orleans, Louisiana many funerals incorporate the use of traditional New Orleans Jazz to help set an appropriate tone. The ceremony is a concoction of French, West African, and African American traditions. The purpose of these funerals is to establish an atmosphere of grief followed by a more joyous celebration of the life of the departed. Traditionally the procession starts with a march from a church to the cemetery by the family and friends of the deceased, they are accompanied by a brass band who initially play somber hymns and tunes during the march. A horse-drawn carriage transports the coffin as a line of traditional dancers performs in rhythm as the procession advances to the cemetery. After the burial the band tends to shift to a more upbeat tone as the service takes on a more celebratory mood, in remembrance of the deceased. Later participants meet at a feast held either at the church or home of the family to commemorate the life of the departed.
            A New Orleans jazz funeral is evidently a far more festive affair in contrast to the Tibetan jhator ritual. Both rituals demonstrate a very different cultural viewpoint of death, which is representative of their societies unique norms in terms of what is deemed an appropriate reaction to ones death. Tibetan monks believe that life is just a cycle that repeats itself and ones physical body is unimportant compared to the mind, this notion stems from their Buddhist roots. They make this clear by not making ones death ritual an elaborate affair, instead they simply put ones corpse to use in what is seen as a productive more practical death ritual. In Christianity however death marks one’s ascent into the afterlife, and serves as an end to their physical presence on earth. Since Christians view death as absolute the rituals surrounding ones funeral are far more elaborate and exquisite. These rituals accurately expresses the very different levels of importance placed on death and the afterlife in the two societies.



Coming of Age Rituals in Mexican and Sepik River Culture

Scarification rituals of the Sepik River tribes
In Papua New Guinea, many tribes are located near the crocodile infested Sepik River. The crocodile has become a key spiritual animal in Sepik tribal culture, as they believe that crocodiles made the Earth and its people. When it is time for teenage boys to become men, a grueling scarification ‘crocodile ceremony’ takes place. Unlike many cultures the Sepik river people believe that men should progress through all rites of passage ceremonies together in groups based on their kin classifications and relations, instead of ceremonies dedicated to an individuals rite of passage.
The ceremony takes place in a ‘spirit house’, which is located at the physical center and highest point of the village. Because of its location, the Spirit House is the focus of the social and ceremonial lives of its adult male members. The Sepik river people believe in a powerful crocodile spirit called Nashut who claimed that if men began to skin-cut themselves in his likeness at the Spirit House, they would absorb some of his power and become strongest and most powerful tribe in the region.
Before the actual cutting of the skin takes place initiates must endure a two-month long seclusion in the spirit house. During this time, their father’s and mother’s brothers teach them about clan genealogies, song cycles, and other spiritual information. They must also endure taunting, having food thrown at them, and other frightening, painful, and tiring rituals during their seclusion. The purpose of these rituals is to harden the initiates, and rid them of any residual femininity. The key belief behind the cutting of the flesh is that the crocodile spirit will eat the boys and orally disgorge them as grown men, they see each razor cut as a crocodile tooth biting into your skin.
The actual ceremony is performed by an experienced cutter who has already gone through the process himself. Traditionally tribes would use bamboo knives, but over the years they have started using disposable razor blades to prevent the spread of disease. First the initiates receive hundreds of specifically marked cuts on their chests in the spirit house, before being led outside to have their backs cut. As this occurs the initiates are encouraged by chants and applause from observing family members. Once the cutting has been completed, the initiates are led back into the spirit house to patch their wounds. But first, oil from the kaumever tree, which is used to make war canoes, is applied to the cuts with a feather. Then, river mud is applied to the cuts, and the young men are told to rest and dry their wounds by the fires. The river mud eventually leads to infection and results in large raised scars or keloids that resemble the bumpy scaled skin of a crocodile.



The Quinceañera Celebration of a Woman’s Passage to Womanhood
A girls fifteenth birthday in Mexican culture represents her transition into adulthood and is considered one of the most important ceremonies in a woman’s life. The celebration serves to honor not just the young woman but also her entire family, especially her family parents and grandparents. The idea is based on traditions that originated hundreds of years ago and is a combination of Spanish-Catholic traditions and Aztec ceremonies marking passages through stages of life. In former times, society would view a 15-year-old woman as an active, adult member of the community, fully ready to take on her share of responsibilities, and indicated that she was of marriageable age and status. Although this may not be the specific meaning anymore it remains a celebration of maturity, lineage and community.
The ceremony begins in a Church with the Misa de acción de gracias, which is a mass given in thanks of a completed childhood. The young woman celebrating the birthday known as the festejada sits at the foot of the altar in a formal white or pink formal dress. She is surrounded by her maids of honor, and chambelanes (escorts). They are usually family, or close friends grouped in order based on different ages. At the conclusion of the mass the festejada leaves a bouquet and pays her respects to the Virgin De Guadalupe. The guests then receive gifts from remembrance from the family, during more modern celebrations many pictures are taken.
After the Misa de acción de gracias concludes the party takes place, the location of the party varies but it is usually held at a sizable venue. The festejada receives numerous gifts that tend to be far more extravagant than the regular birthday gift. The celebration is traditionally started when the festejada dances a waltz with her father, after this there is usually a formal dinner where many congratulatory toasts are given in honor of the young woman’s coming of age.
A key element at the party is the incorporation of traditional Latin music like cumbiabanda, or salsa, which is often played by a live band to the enjoyment of a livid dance floor.  The festejada’s cake much like her dress is heavily decorated and lavishly presented. The party overall thanks to the help of the parents, godparents, and often other families tends to be very extravagant compared to an average birthday celebration.

            The differences between the scarification rituals of young boys in the Sepik River tribes and a girls Quinceañera in Mexican society are extremely evident. These differences are representational of many aspects of both societies norms and values especially in regards to gender roles. Sepik River society promotes male dominance and favorably values masculinity whereas Mexican culture shows a great deal of respect to the role women play in society. This is made clear through the abundant celebrations and gifts ‘rewarded’ to the festejada for advancing to a new pivotal stage in life. Although the rituals behind the coming of age ceremonies were very different they shared a few similarities.  In both cultures during the transition into adulthood the participant gains much helpful insight and guidance from their elder family members of the same gender. This shows how both societies despite their differences grant a great deal of respect and authority to ones elders.

Wedding Ceremonies in Circassian and Hindu Culture

Circassian wedding festivals
The Circassian people originate from the region of Circassia along the North Caucasus and along the northeast shore of the Black Sea. In Circassian society interaction between the sexes is allowed under the proper supervision. Unlike many societies marriage is not arranged by the parents, instead a young male suitor called pselhix’w, or soul-searcher is allowed to visit the house of a young woman he is interested in to get to know her better. After the suitor finds a suitable companion whom shares the same mutual feeling of love, they send a trusted delegate, usually a respected elder to meet the father and ask him for his daughter’s hand on behalf of the suitor. Marriage festivities are considered very intricate and enjoyable social events by Circassian society. Traditional Circassian Wedding’s are made up of a variety of ceremonies which would be held at three places; the house of the bride’s father, the house of the bridegroom’s father, and at the house where the bridegroom is lodged until the wedding night. The first ceremony is held at grooms fathers house, where a traditional ceremonial toast is given. 
The next ceremony called the Nisashe is a feast in honor of the guests at the house of the bride’s parents before they convey her to her new home. Many traditional songs are sung by the guests, the most common of which is the ‘Nisashe song’ known as ‘Wereide, bestow happiness on our bride!’ It is also not uncommon for an azheghafe (clown) dressed in the skin of a billy-goat to participate in the ceremonies to infuse some humor into the event.
When the wedding procession arrives at the gate of the house of the bridegroom’s father, songs are sung signaling her arrival to her new home. Once inside the yard, the ceremony of ‘removing the veil’ is then conducted. One of the masters of ceremonies would take out his dagger and with its tip lifted the veil or screen of the bride’s head-cover. The head-cover however (as opposed to the veil) is not taken off until after the ceremony by a confidant of the bride’s father. After this the master of ceremony addresses the elder females of the bridegroom’s father’s household and asks them to join him in a song-like toast blessing their new daughter-in-law.
           
This is followed by the ceremony of ‘Wineyishe’ also at the grooms fathers house, where the new bride is to be formally introduced to her mother-in-law and other female elders.
Since the groom is prohibited from attending these ceremonies he resides at a friend or relative’s house where with a group of friends several minor traditional songs are sung in his honor, all in isolation of the main wedding ceremonies. He remains here until the ‘Schaweyishezh’, which is when he must devise a method to sneak into his bride’s room unnoticed as she stays at his father’s house and finally consummate the marriage. This is because in Circassian society it was considered inappropriate to be seen entering the bedroom of ones new bride.



Marriage in Hindu Culture
In India, Marriage is arguably considered the most important social and religious event in a person’s life. This is because in Hinduism marriage marks the transition into the second stage of ones life cycle known as garhastya, the Householder stage. In Hindu society marriage is considered so important that the decision is rarely left to the individuals actually involved. Having one’s parents arrange a marriage is very common and to many is considered the norm.
The traditional Hindu wedding ceremony is usually performed in a sequence of different events starting with the Baraat or Swagat which is the arrival of the groom accompanied by his family and friends who singing and dance as they make their way to the wedding hall or temple. The Swagatam, which is the welcoming the Groom and his family and friends, follows this.  The groom is treated to a welcome ritual at the entrance by the bride’s mother and is then escorted to the mandap which is a temporary structure built for the wedding that consists of four pillars. Before the groom enters the mandap he is instructed by a priest to remove his shoes, it is not uncommon during many ceremonies for the Bride’s family to try and steal the shoes (for fun) while the Groom’s family protects them.  By the end of the wedding, if the shoes are stolen, the Groom must offer the new family money or gifts to retrieve them.
 The bride is then escorted to the mandap by her maternal uncles.  The bride’s father then gives his daughter to the groom in marriage, witnessed by the fire God.  The giving of the bride is called the Kanya Daan and is considered the highest form of gift that parents can offer.  The ends of Bride and Groom’s garments are tied together with betel nuts, copper coins and rice symbolizing unity and eternal bond of marriage.  The priest then kindles the fire and the couple makes nine offerings to the fire to ask for removal of darkness and any ignorance. The couple then perform the Mangal Fera which is when they walk around the fire four times which signify the last fours stages of life; Dharma (Righteousness), Artha (Monetary accomplishment), Karma (Energy and passion for life), and Moksha (liberation from everything in life).


The groom offers the bride, life long protection by giving her the Mangalsutra, a sacred necklace made with black beads with gold, then placing a red powder known as sindhoor on the crown of her forehead. The couple then feed each other traditional sweets before reciting the Saptapadi, which is a set of 7 vows. After this the priest and members of their families bless the newly wed couple.  The final ceremony or the Vidai is when the brides family wishes her the best and bid her farewell as she leaves her parent’s home to begin a new life with her husband. Sometimes the bride’s family most commonly her sister(s) try to stop the car from leaving by placing their hands on the bonnet so that their new brother-in-law asks their permission to take the bride away with him, and offers gifts as a token. Before the wedding car departs, the priest places a coconut under the front wheel and waits for it to be broken under the weight of the car.  This is to ensure a safe journey and to bless the start of their newly married life.
Both Hindu and Circassian society view marriage as a key point in an individuals life, as it marks a major transition in ones lifestyle and role in society. This is probably why in both cultures weddings are considered large joyous social events that require a lot of preparation and participation from several members of both families. The active role the parent’s play in the ceremonies depicts the level importance and respect that both societies place on the influence of ones family. This is especially evident with the bride’s parents, whom hold a significant amount of authority, and in the end make the final decision regarding their daughter’s future. However in Circassian culture the process of finding a spouse is left up to the individuals actually getting married not their parents unlike Hindu culture, which relies heavily on matchmaking through ones parents. Although Hindu weddings are far more concentrated in terms of ceremonial locations, both cultures have unique customs and traditions that take place before and after the main ceremony that hold symbolic value.