"Voices of the Ritual analyzes the revival of and manifestation of rituals at female saint shrines in the Holy Land. The book's central claim is that, in the Middle East, a turbulent, often violent political context, states tend to have no clear physical borders, and lands are constantly at stake. In this context, deprived ethno-religious groups with no voice in the political, cultural, media, and legal arenas look for alternative venues to voice their entitlements. Through the book I argue that in Israel/Palestine, religious minorities (Jewish, Christian, Muslim, Druze, and others) employ rituals in various sacred places, especially female saints' shrines, to claim their belonging to and appropriation of territory. At the heart of this book is the question: What does this female ritualistic revival mean-politically, culturally, and spatially? To answer this question, I base my analysis on a long ethnographic study (2003-2017) that analyzes the rise of female sacred shrines, focusing on four dimensions of the ritual: the body in motion, female materiality, place, and the rituals encrypted in the Israel/Palestine landscape. The book sets out to examine the popularity of body rituals in sacred places, and the female themes that stem from these rituals. I show that, in the practices at these shrines, mostly canonical, the idea of the "body in motion" is central, with rituals imitating birth and the cycle of life using a set of body gestures. These mimetic rituals, performed by men and women, are intimate forces that extend between the female saint and the worshippers. Female materiality strengthens intimacy and creates a bridge between the experience and the material. Minority groups in these venues, Jews and Christians, use these sacred shrines, their female contents and intimate bodily ritualistic experience, to stake a claim to and appropriate the land. The intimacy between saint and worshipper (females and males each in their own modes) created with the body that imitates the cycle of life, and the female material scattered around, are keys to intimate claims to the land, making the land familiar to worshippers. Rituals encrypt female themes into the landscape, a dynamic that is taking place in a zone that has for decades been dominated by violent, masculine-disseminated war and conflict"--

The female voice plays a more central role in Sufi ritual, especially in the singing of devotional poetry, than in almost any other area of Muslim culture. Female singers perform sufiana-kalam, or mystical poetry, at Sufi shrines and in concerts, folk festivals, and domestic life, while male singers assume the female voice when singing the myths of heroines in qawwali and sufiana-kalam. Yet, despite the centrality of the female voice in Sufi practice throughout South Asia and the Middle East, it has received little scholarly attention and is largely unknown in the West. This book presents the first in-depth study of the female voice in Sufi practice in the subcontinent of Pakistan and India. Shemeem Burney Abbas investigates the rituals at the Sufi shrines and looks at women's participation in them, as well as male performers' use of the female voice. The strengths of the book are her use of interviews with both prominent and grassroots female and male musicians and her transliteration of audio- and videotaped performances. Through them, she draws vital connections between oral culture and the written Sufi poetry that the musicians sing for their audiences. This research clarifies why the female voice is so important in Sufi practice and underscores the many contributions of women to Sufism and its rituals.

You Can Take Control of Your Thoughts! Confused by the competing voices in your head? You're not alone! Not mastering your thought life will eat away at your self-worth, poison your relationships, stunt your growth, and complicate your life. In The Four Voices, best-selling author and Bible teacher Patrick Morley will show you how to conquer those thoughts and feelings that keep dragging you down. With God's help, you can set your heart free and find peace of mind. The Loudest Voice Doesn't Have to Win!

In this first volume of Kiowa Vioces the society has presented Kiowa cultural beliefs and values as preserved and revealed in a combination of Kiowa ceremonial dances and song rituals, their legends and art.

Hearing Voices takes a fresh look at sound in the poetry and prose of colonial Latin American poet and nun Sor Juana Inés de la Cruz (1648/51–95). A voracious autodidact, Sor Juana engaged with early modern music culture in a way that resonates deeply in her writing. Despite the privileging of harmony within Sor Juana’s work, however, links between the poet’s musical inheritance and subjects such as acoustics, cognition, writing, and visual art have remained unexplored. These lacunae have marginalized nonmusical aurality and contributed to the persistence of both ocularcentrism and a corresponding visual dominance in scholarship on Sor Juana—and indeed in early modern cultural production in general. As in many areas of her work, Sor Juana’s engagement with acoustical themes restructures gendered discourses and transposes them to a feminine key. Hearing Voices focuses on these aural conceits in highlighting the importance of sound and—in most cases—its relationship with gender in Sor Juana’s work and early modern culture. Sarah Finley explores attitudes toward women’s voices and music making; intersections of music, rhetoric, and painting; aurality in Baroque visual art; sound and ritual; and the connections between optics and acoustics. Finley demonstrates how Sor Juana’s striking aurality challenges ocularcentric interpretations and problematizes paradigms that pin vision to logos, writing, and other empirical models that traditionally favor men’s voices. Sound becomes a vehicle for women’s agency and responds to anxiety about the female voice, particularly in early modern convent culture.