Hakuin Ekaku (1685–1769) is one of the most influential figures in Zen Buddhism. He revitalized the Rinzai Zen tradition (which emphasizes the use of koans, or unanswerable questions, in meditation practice), and all masters of that school today trace their lineage back through him. He is responsible for the most famous of all koans: "What is the sound of one hand clapping?" He is also famous for his striking and humorous art, which he also regarded as teaching. This book provides a rare, intimate look at Hakuin the man, through his personal correspondence. Beating the Cloth Drum contains twenty-eight of Hakuin's letters to students, political figures, fellow teachers, laypeople, and friends. Each letter is accompanied by extensive commentary and notes. They showcase Hakuin's formidable, thoughtful, and sometimes playful personality—and they show that the great master used every activity, including letter-writing, as an opportunity to impart the teachings that were so close to his heart.

Originally a royal court dance, baakisimba asserted the authority of the king as the head of Baganda society. After the abolition of kingship in 1967, baakisimba dance began to be performed in other contexts, with women sometimes playing the accompanying drums-traditionally a man's role-and with men occasionally performing the dance.Sylivia Nannyonga-Tamusuza argues that the music and dance of the Baganda people are not simply reflective of culture; baakisimba participates in the construction of social relations, and helps determine how these relations shape the performing arts. Integrating a study of foregrounds the conceptualization of gender as a time-specific cultural phenomenon. Illuminating the complex relationship between baakisimba and Baganda culture, this path breaking volume bridges the gaps in previous scholarship that integrates music and dance in ethnomusicological scholarship.

'Studies of Savages and Sex' are brought together by nine shorter essays. In the present Volume are assembled three longer studies, the first of which, indeed, is long and important enough to have made a volume itself. It speaks of the origins, forms and psychology of dress (with special emphasis on the sexual psychology). The psychology of drinks and drums and all three combined.

Build Your Own Shamanic Toolkit In this beautifully illustrated guide, artist and shamanic teacher Evelyn C. Rysdyk shows you how to create, decorate, consecrate, and use various sacred tools in ritual and healing. Navaho traditional healers bring rattles, corn pollen, eagle feathers, and sage smoke together with songs and dances to affect healing. Ulchi shamans use drums, rattles, and larch tree wands called gimsacha to work healing magic. Manchu shamans will perfume the air with incense and tie on a heavy bustle of iron jingles as a part of their ceremonial costume. Modern shamanic practitioners likewise use sacred tools to facilitate our connection to helper spirits in the Upper, Middle and Lower Worlds, as well as the spirits of nature. While you can purchase many of these tools, there’s nothing quite as powerful as making your own. You’ll find instructions for making rattles, drums, masks, mirrors, spirit figures, fans, bells, pouches, wands, prayer bundles, flutes, whistles, and more. Plus suggestions for responsible ways to obtain the materials you’ll need. “Having an intimate connection to all the spirits that came together in my favorite rattle—knowing that the tiny pebbles came from the local riverbank, the wood handle from a lightning-struck maple in my yard, and the rawhide from a black bear that was hunted by a native friend for food—gives it a far deeper meaning and power.” —from the introduction The author’s original artwork and photographs of shamans and their authentic tools appear throughout the book.

Scope: theology, philosophy, ethics of various religions and ethical systems and relevant portions of anthropology, mythology, folklore, biology, psychology, economics and sociology.

The trickster character is prominent in the cultural, particularly narrative, traditions of many different peoples throughout the world. Comic and serious, stupid and clever, benevolent and evil, winner and loser, the trickster is a study in contradictions. The trickster cannot be pigeonholed, for he does not fit into any neat categories or definitions. This study, first published in 1994, aims to give the reader the opportunity to experience in some small measure the dynamic and exciting dramatic oral narrative performances of the Ewe people of West Africa.