Angela Hobart – författare

First published in 1987. This book began in Bali during 1970–72, during the author’s Ph.D. research on the shadow theatre for the School of Oriental and African Studies in London. However, two subsequent trips to Bali in 1980 and 1984, when I studied other forms of dance-drama and ritual, greatly contributed to the work. The shadow theatre in Bali is described and its place in the society and culture explored. It is so called, as during the night performance puppets cast vibrant shadows against a white cotton screen which is illuminated by a flickering coconut-oil lamp.

This study provides insight to the history and culture of the people of Bali, from prehistoric times to the present.

First published in 1987. This book began in Bali during 1970–72, during the author’s Ph.D. research on the shadow theatre for the School of Oriental and African Studies in London. However, two subsequent trips to Bali in 1980 and 1984, when I studied other forms of dance-drama and ritual, greatly contributed to the work. The shadow theatre in Bali is described and its place in the society and culture explored. It is so called, as during the night performance puppets cast vibrant shadows against a white cotton screen which is illuminated by a flickering coconut-oil lamp.

First published in 1987. This book began in Bali during 1970–72, during the author’s Ph.D. research on the shadow theatre for the School of Oriental and African Studies in London. However, two subsequent trips to Bali in 1980 and 1984, when I studied other forms of dance-drama and ritual, greatly contributed to the work. The shadow theatre in Bali is described and its place in the society and culture explored. It is so called, as during the night performance puppets cast vibrant shadows against a white cotton screen which is illuminated by a flickering coconut-oil lamp.

First published in 1987. This book began in Bali during 1970–72, during the author’s Ph.D. research on the shadow theatre for the School of Oriental and African Studies in London. However, two subsequent trips to Bali in 1980 and 1984, when I studied other forms of dance-drama and ritual, greatly contributed to the work. The shadow theatre in Bali is described and its place in the society and culture explored. It is so called, as during the night performance puppets cast vibrant shadows against a white cotton screen which is illuminated by a flickering coconut-oil lamp.

In various ways, the essays presented in this volume explore the structures and aesthetic possibilities of music, dance and dramatic representation in ritual and theatrical situations in a diversity of ethnographic contexts in Europe, the Americas, Africa and Asia. Each essay enters into a discussion of the “logic” of aesthetic processes exploring their social and political and symbolic import. The aim is above all to explore the way artistic and aesthetic practices in performance produce and structure experience.

Here, Thierry Zarcone and Angela Hobart offer a vigorous and authoritative exploration of the link between Islam and shamanism in contemporary Muslim culture, examining how the old practice of shamanism was combined with elements of Sufism in order to adapt to wider Islamic society. Shamanism and Islam thus surveys shamanic practices in Central Asia, the Middle East, North Africa and the Balkans, to show how the Muslim shaman, like his Siberian counterpart, cultivated personal relations with spirits to help individuals through healing and divination. It explores the complexities and variety of rituals, involving music, dance and, in some regions, epic and bardic poetry, demonstrating the close links between shamanism and the various arts of the Islamic world. This is the first in-depth exploration of 'Islamized shamanism', and is a valuable contribution to the field of Islamic Studies, Religion, Anthropology, and an understanding of the Middle East more widely.

Here, Thierry Zarcone and Angela Hobart offer a vigorous and authoritative exploration of the link between Islam and shamanism in contemporary Muslim culture, examining how the old practice of shamanism was combined with elements of Sufism in order to adapt to wider Islamic society. Shamanism and Islam thus surveys shamanic practices in Central Asia, the Middle East, North Africa and the Balkans, to show how the Muslim shaman, like his Siberian counterpart, cultivated personal relations with spirits to help individuals through healing and divination. It explores the complexities and variety of rituals, involving music, dance and, in some regions, epic and bardic poetry, demonstrating the close links between shamanism and the various arts of the Islamic world. This is the first in-depth exploration of 'Islamized shamanism', and is a valuable contribution to the field of Islamic Studies, Religion, Anthropology, and an understanding of the Middle East more widely.

Here, Thierry Zarcone and Angela Hobart offer a vigorous and authoritative exploration of the link between Islam and shamanism in contemporary Muslim culture, examining how the old practice of shamanism was combined with elements of Sufism in order to adapt to wider Islamic society. Shamanism and Islam thus surveys shamanic practices in Central Asia, the Middle East, North Africa and the Balkans, to show how the Muslim shaman, like his Siberian counterpart, cultivated personal relations with spirits to help individuals through healing and divination. It explores the complexities and variety of rituals, involving music, dance and, in some regions, epic and bardic poetry, demonstrating the close links between shamanism and the various arts of the Islamic world. This is the first in-depth exploration of 'Islamized shamanism', and is a valuable contribution to the field of Islamic Studies, Religion, Anthropology, and an understanding of the Middle East more widely.

In various ways, the essays presented in this volume explore the structures and aesthetic possibilities of music, dance and dramatic representation in ritual and theatrical situations in a diversity of ethnographic contexts in Europe, the Americas, Africa and Asia. Each essay enters into a discussion of the “logic” of aesthetic processes exploring their social and political and symbolic import. The aim is above all to explore the way artistic and aesthetic practices in performance produce and structure experience.

The state is frequently conceived as a universal, although one apparently extraordinarily difficult to define. It often appears in academic discourse and, especially, in the popular imagination as an abstraction, usually nebulous, grasped as pervasive - a spectre to be feared. In this book, distinguished scholars from around the world take issue with this purported universality, exploring alternative imaginings of the state, of power and of global processes at the margins. Taking an anthropological perspective based in diverse ethnographic contexts outside Europe and North America, if not beyond their controlling influence in globalizing realities, this volume reveals different complexes of power, as well as processes that are external to power and often against it (contra Foucault, and as Pierre Clastres has famously argued). The authors stress not only the different structures of institutional power, but also the persistence or transmutation of local kinds of power and their relevant cosmologies into contemporary globalized settings.They find innovative kinds of modernity, reconfigurations that have effects that cannot be reduced to over-generalized and often intensely Eurocentric concepts of power and the kinds of subjectivities realized by them. In this, the volume opens up the diversity of experiences of the state and offers new directions for its study.

The state is frequently conceived as a universal, although one apparently extraordinarily difficult to define. It often appears in academic discourse and, especially, in the popular imagination as an abstraction, usually nebulous, grasped as pervasive - a spectre to be feared. In this book, distinguished scholars from around the world take issue with this purported universality, exploring alternative imaginings of the state, of power and of global processes at the margins. Taking an anthropological perspective based in diverse ethnographic contexts outside, or marginal to, Europe and North America, if not beyond their controlling influence in globalizing realities, this volume reveals different complexes of power, as well as processes that are external to power and often against it (contra Foucault, and as Pierre Clastres has famously argued). The authors stress not only the different structures of institutional power, but also the persistence or transmutation of local kinds of power and their relevant cosmologies into contemporary globalized settings. They find innovative kinds of modernity, reconfigurations that have effects that cannot be reduced to over-generalized and often intensely Eurocentric concepts of power and the kinds of subjectivities realized by them. In this, the volume opens up the diversity of experiences of the state and offers new directions for its study.