Ôkatrarana Ceremony from Eastern Madagascar: Exploring the Soundscape Between Worlds
Okładka czasopisma Interdisciplinary Studies in Musicology, tom 25, nr 25, rok 2025, tytuł Interdisciplinary Studies in Musicology
PDF (English)

Słowa kluczowe

Madagascar
ôkatrarana
famadihana
soundscape
bingy bé
drums
dance

Jak cytować

Smoluch, Łukasz. (2026). Ôkatrarana Ceremony from Eastern Madagascar: Exploring the Soundscape Between Worlds. Interdisciplinary Studies in Musicology, 25(25), 37–45. https://doi.org/10.14746/ism.2025.25.4

Liczba wyświetleń: 0


Liczba pobrań: 0

Abstrakt

This paper presents preliminary findings from field research conducted in 2024 on the island of Sainte Marie (Nosy Boraha), Madagascar, focusing on the ôkatrarana ceremony – a ritual of exhumation and reburial rooted in Malagasy ancestral traditions. The study is concerned with the performative and sonic aspects of ceremony, and specifically the role of singing, drumming, and dancing in mediating the passage between the world of the living and the world of the dead. This article argues that music functions as a ‛ritual tool’ that gives structure to time frame of the ceremony, guides emotions, and strengthens social cohesion. The bingy bé performance, characterized by polyrhythmic drumming and responsorial singing, is analyzed as a key element in generating collective affect and spiritual transformation. This study contributes also to a broader discussion on the connections between music, rituals, and cultural memory in the Indian Ocean region.

https://doi.org/10.14746/ism.2025.25.4
PDF (English)

Bibliografia

Anku, W. (2000). Circles and time: A theory of structural organization of rhythm in African music. Music Theory Online, 6(1). https://mtosmt.org/issues/mto.00.6.1/mto.00.6.1.anku.html

Astuti, R., & Harris, P. L. (2008). Understanding mortality and the life of the ancestors in rural Madagascar. Cognitive Science, 32(4), 713–740.

Bezandry, J. A. (2006). Fomba amam-panao sy fivavahana nentin-drazana ao Andrangazaha [Master’s thesis, Université d’Antananarivo].

Bloch, M. (1971). Placing the dead: Tombs, ancestral villages, and kinship organization in Madagascar. London: Seminar Press.

Burns, J. (2010). Rhythmic archetypes in instrumental music from Africa and the Diaspora. Music Theory Online, 16(4). https://www.mtosmt.org/issues/mto.10.16.4/mto.10.16.4.burns.pdf

Dissanayake, E. (2006). Ritual and ritualization: Musical means of conveying and shaping emotion in humans and other animals. In S. Brown & U. Volgsten (Eds.), Music and manipulation: On the social uses and social control of music (pp. 31–56). New York: Berghahn Books.

Graeber, D. (1995). Dancing with corpses reconsidered: An interpretation of famadihana (in Arivonimamo, Madagascar). American Ethnologist, 22(2), 258–278.

Keenan, E. O. (1973). A sliding sense of obligatoriness: The poly-structure of Malagasy oratory. Language in Society, 2(2), 225–243.

Mauro, D. (2001). Images des cultes malgaches: le famadihana. Journal des anthropologues, 84, 239–250.

Putra, A. S., Hijjang, P., Tang, M., & Badollahi, M. Z. (2023). Ma’nene’ ritual: Ethnographic study of Ma’nene’ ritual practices in Toraja. Journal of Advanced Zoology, 44(4), 404–408.

Schafer, R. M. (1977). The tuning of the world. New York: Knopf.

Schmidhofer, A. (2004). Musik und Trance auf Madagaskar: Studien zur Musik im Tromba-Ritual der Sakalava. Frankfurt am Main: Peter Lang.

Toussaint, G. T. (2003). Classification and phylogenetic analysis of African ternary rhythm timelines. In Bridges: Mathematical Connections in Art, Music, and Science (pp. 25–36).

Turner, V. (1969). The ritual process: Structure and anti-structure. Chicago: Aldine Publishing.

van Gennep, A. (1960). The rites of passage (M. B. Vizedom & G. L. Caffee, Trans.). Chicago: University of Chicago Press.