Many thanksss Sabina, this is my subject: Candomblé.

I will send the abstract.

kind regards,

Sonia




> FORWARDING ONLY; please reply to email in message.
>
>
> 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,
> [log in to unmask]<[log in to unmask]" target="_blank">http:[log in to unmask]>,
> and/or Solimar Otero,
> [log in to unmask]<mailto:[log in to unmask]>.
>
> 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
> [log in to unmask]
>
>
>


Sonia Bartol
Profesora de Antropología
Departamento de Psicología Social y Antropología
Universidad de Salamanca