From: Magliocco, Sabina <sabina.magliocco@csun.edu>
Date: 11 January 2011 20:10
Subject: [ACADEMIC-STUDY-MAGIC] FW: Call for Submissions: YẸMỌNJA: Water Goddess, Fluidity and Tradition
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CALL FOR PAPERS
YẸMỌNJA: Water Goddess, Fluidity and Tradition
YẸMỌNJA: Water Goddess, Fluidity and Tradition is a volume that reflects an interest in exploring the international Yorùbá deity Ye̩mo̩nja in her multiple manifestations. As with the Indiana University Press's previous series on ọ̀rìṣa traditions, including those on Ogun, Osun and Sango, this volume seeks to unearth the multi-dimensional nature of religious work and cultural production about Ye̩mo̩nja in Africa and the African Diaspora. Contributions from scholars, practitioners, and artists involved with Yoruba traditional religion, Santería or Ocha, Candomblé, Vodoun, Trinidadian Orisha Traditions, The American Yoruba Movement, Ifa, Espiritísmo, Mucumba, Folk Catholicism, Curanderismo, Palo, and other intersections of religious and cultural practices involving Ye̩mo̩nja are encouraged to submit to the volume.
Ye̩mo̩nja is known in mythology and Afro-Atlantic cultures for her domination of natural phenomenon, especially aquatic zones of communication, trade and transportation like the ocean, rivers, and lagoons. She is also associated with the societal aspects of culture in motherhood, women, the arts, and the family. She is called by multiple names in transnational sites: Yemaya in Cuba, Yemanjá, Iemanjá, Janaína in Brazil, as well as being associated with other water deities like Olókùn in Nigeria, and Mami Wata across West and Central Africa. Her close relationship to the river deity ọ̀ṣun has been explored in Cabrera's Yemayá y Ochún, as well as discussed in Sanford and Murphy's ọ̀ṣun Across the Waters. Scholars such as Henry Drewal, Margaret Drewal, and Babatunde Lawal have connected Ye̩mo̩nja to the Gẹl̀ẹ̀dẹ́ festival of Ketu, especially in relation to the origins of understanding gender and female power in ọ̀rìṣa art and performances. With these connections in mind, we are interested in how traditions surrounding Ye̩mo̩nja have been creolized, hybridized, and combined with other traditions, like Folk Catholicism, Vodoun, and Congo traditional religions in both Africa and the African Diaspora. It is with this broad and integrated understanding that we invite contributions that move forward conversations between the disciplines and areas that Ye̩mo̩nja touches.
We are especially interested in works that remark upon connections between North America, Latin America, Africa, and the Caribbean that forge new understandings of history, religion, performance, art, and gender. Ye̩mo̩nja traditions are constantly changing and in flux in a manner that presents a template for understanding societal and cultural change, hybridity, and reconfiguration, with a special eye towards how these processes go hand in hand with the construction of gender in Africa and the African Diaspora. Thus, the volume will present essays that especially explore Ye̩mo̩nja's role in providing a space for secrecy, creativity, and play in the construction of gender and motherhood. That being said, we also welcome works that challenge and reconfigure canonical representations of Ye̩mo̩nja in terms of gender, society, and the family. Due to the range of geographical and cultural contexts the volume embodies, we encourage work that looks at the transnational connections between Ye̩mo̩nja aesthetics broadly: in history, theory, sociology, literary criticism, philosophy, anthropology, linguistics, storytelling, divination, religion, art, performance, and cultural production in general.
Please send a one-page abstract, a bio, and contact information to the editors by February 15, 2011. Completed papers, ranging 30-40 double spaced pages, using Chicago Style, and saved in WORD, are due by January 2, 2012. Send abstracts, bios, and queries to Toyin Falola, toyin.falola@mail.utexas.edu, and/or Solimar Otero, solimar@lsu.edu.
Possible Themes and Topics:
Ye̩mo̩nja in Africa and the African Diaspora
Ye̩mo̩nja and the Construction of Gender
Ye̩mo̩nja and the Idea of Witchcraft
Ye̩mo̩nja and Water, the Ocean, Aquatic Borderlands
Ye̩mo̩nja and Other Water Divinities
Ye̩mo̩nja and Candomblé
Ye̩mo̩nja and Brazilian Popular Culture and Identity
Ye̩mo̩nja, Public Art and Aesthetics
Yemaya, Cuba, and La Virgen de Regla
Mythology and Divination and Ye̩mo̩nja
Music and Dance and Ye̩mo̩nja
Ye̩mo̩nja and Religious Admixture
Ye̩mo̩nja and Transatlantic Identity
Ye̩mo̩nja and Motherhood, Sisterhood, (relationships among women)
Ye̩mo̩nja and Sexuality
Ye̩mo̩nja and Globalization
Ye̩mo̩nja and Creolization
Ye̩mo̩nja and Spectacle in Africa and the African Diaspora (Carnival,
Ritual)
Ye̩mo̩nja and Orature
Ye̩mo̩nja and Traditional History
Ye̩mo̩nja and the Odu
Ye̩mo̩nja and Philosophy and Language
Ye̩mo̩nja and Literary Criticism
Ye̩mo̩nja and Caribbean Identity and Culture
Ye̩mo̩nja and Society
Ye̩mo̩nja and Urban Art
Ye̩mo̩nja on Film and in Literature
Folk, Public Art and Ye̩mo̩nja
Folk and Alternative Medicine and Ye̩mo̩nja
Ye̩mo̩nja and the Archeology of Knowledge
Ye̩mo̩nja and Secrecy and Revelation
Ye̩mo̩nja and Religious Lineages (i.e. Fermina Gomez in Cuba)
Archeology and Ye̩mo̩nja
African American Consciousness and Culture and Ye̩mo̩nja
Ye̩mo̩nja and the Black Atlantic
Ye̩mo̩nja and the Practice of Diaspora
Ye̩mo̩nja and Post-Modernism
Ye̩mo̩nja and Magical Realism
Ye̩mo̩nja and African and African Diaspora Popular Culture
Ye̩mo̩nja and Feminism
Ye̩mo̩nja and Cosmopolitanism
Ye̩mo̩nja and Atlantic Studies
Ye̩mo̩nja and Nationalism
Ye̩mo̩nja and Nostalgia
Ye̩mo̩nja and Latino/a Imaginary
Ye̩mo̩nja and Tropicalizations
Ye̩mo̩nja and Black Cultural Identity
̩Dr. Solimar Otero
Assistant Professor and Folklorist
Department of English
260 Allen Hall
Louisiana State University
Baton Rouge, LA 70803
(225) 578 – 3046
solimar@lsu.edu
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