Reflexive Perspective: Tewahido Fasika

Reflexive Perspective:  

 TEWAHIDO FASIKA  

a film by Vincent Moon
 FRENCH

JAPANESE

I was on Facebook this Sunday morning checking my feed. I noticed there was another one of Vincent Moon's films in the feed. I figure I would take a peek at what Vincent has created, and to my surprise this was another masterpiece from Monsieur Vincent! Qui, grand travail (with a French Accent)!

While watching this film, a light bulb lite in my mind; I came up with this keen idea to provide a little historical commentary of what the film represents in culture's environment. So, I am about quickly research the film's ritual history.

However, here is the film that I watched. It's entitled, "Tewahido Fasika." It's only 15 minutes long, but what a wonderful piece of cinematic work captured by Vincent during this Easter Sunday Ritual in Ethiopia.

NOW ETHIOPIA •†•†• TEWAHEDO FASIKA •†•†• (((ፋሲካ))) from Vincent Moon / Petites Planètes on Vimeo.

HISTORY

The Fasika is an festival-holiday celebrating the resurrection of Jesus. In Ethiopia, this Fasika has been a longstanding holiday with the Ethiopian Orthodox Tewahido Church. This celebration of Easter marks the calculation of the Western Cultures celebration of Easter, also. Yet, Fasika is a much more significant holiday than Christmas in Ethiopia Orthodox for the resurrection of Christ plays a prudent in role in their theology.

Also, Fasika practice a 56-day fasting, which intensifies their ritual experience; this includes on eating of animal products or meat of any kind (this includes no butter, eggs, or drinking milk). The strict measures of this diet is includes the practitioner eats one meal of vegetables and lentils during the fasting period.

Thus, Good Friday starts off by people attending church, in order, to break the long fast. Attached to this, the faithful congregation will do ceaseless bowing that renders one exhausted in energy. On Saturday night, there is the  Paschal Vigil that has hours of dancing and music into the early morning hours.

At 3:00 am, everyone returns home to prepare breaking the fast.  At about midnight, a chicken is slaughtered in symbolism of the celebration. On Sunday morning, a sheep is slaughtered for the Sunday morning feast.

This slaughtering of the sheep derives from a foreshadowed testament of the Old Testament: Genesis 22. There is the story of Abraham's near sacrifice of his song, which was replaced with a sheep that was sent from the heaven as a substitute for sacrificing his son.

Furthermore, this celebration of Easter in Ethiopia is represent Christ 40 days and 40 nights. The celebration is attached with people having food and locally-brewed alcohol that includes honey.

Just too note, there is a second Fasika which is celebrated, unofficially, during the following week.

PROJECTION 

This cultural celebration from Ethiopia represents the very nature of religious practices all over the world. The hold a significant power over the town or city they reside. This practice is what keeps the tides in this country strong. Furthermore, this represents how the practices done in Ethiopia is no different than the practice of Orthodox Christianity here in the states, Europe or Latin America, etc.

Also, you can accompany the processes of acculturation, enculturation and coculturation (Check out my coculturation blog to explain more) as to what this film represents when the filmmaker, Vincent Moon, accomplishes with his camera, the illusive mechanized iris he carries on his shoulders.

So, if you meet an Ethiopian who tells you stories of how they practiced Easter Sunday, which include rituals of lit candles, dancing, and music in the wee hours of the night; that would follow a sacrificing of a chicken and lamb. You better believe this is the whole truth, and nothing more.

I am glad Vincent made this film. I remember in my interview with him: Reflexive Process: Interview; Vincent mentioned his trip to Ethiopia. This was one of the creations of that trip. This man is on a mission. I just want to share in the fruition of his works and travels. Once again, Vincent Moon represents Filmmaking culture in its majesty. 

Merci, encore une fois Vincent Moon; pour ce film.

La paix!

REFLEXIVITY PHRASE

Coculturation: is the process of acculturation and enculturation by influencing, an individual or a group with initiation into a culture based on their beliefs, attitudes, creeds, politics, and social rules while existing in that culture's environment."

REFERENCES

Fasika. (2013, March 01). Retrieved from http://en.wikipedia.org/wiki/Fasika 

Abeba tours ethiopia-festivals & holidays. (2009-2013). Retrieved from http://www.abebatoursethiopia.com/es/node/64

Coculturation & 

Cultural Transformation: 

What more do they 

entail in the observation of culture?

As I stated in the previous blog coculturation is the process of acculturation and enculturation by influencing, an individual or a group with initiation into a culture based on their beliefs, attitudes, creeds, politics, and social rules while existing in that culture's environment."

From the lexicon, I, further, want to clarify what coculturation provides, compared and paired with acculturation and enculturation, in the process of cultural transformation. Now, cultural transformation is when an act or a process changes an individual, a group, or an event as they are conforming to a foreign culture's norms, beliefs in the guise of appearance, nature, and characteristics while gaining acceptance within the culture parameters in foreign or native environments.

In coculturation, there is a process that exist for an individual or a group who is evolving in this phenomenon. There are three phases in the coculturation process:

• Phase 1 (Primary level): This is the beginning stage where one have been introduced into the culture by an epiphenomenon. The time frame is 6 months to 2 years.
• Phase 2 (Secondary Level): This is the intermediate stage when one is progressing through the process of a cultural within the parameters of the epiphenomenon. The time frame is over 2 years to 5 years.
• Phase 3 (Third Level):  This is the advanced stage when one has progressed the process of the cultural within the epiphenomenon to full bloom. The time frame is over 5 years to 7 years.

I want to inject that Phases 1 and 2 are developed within the parameters, range of the acculturation and enculturation processes; but Phase 3 is the prudent stage, in which, time allows the individual, the group, or the event to cultivate the required knowledge and trust necessary for existence in a culture's environment, in order, to strike relativity in a native stance compared to having a novice, foreign stance of the culture, itself. 

Phrase 3 is probably the most important, because the definition states "one have to live in that foreign culture and environment, in order to achieve total cultural transformation." However, Phases 1 and 2 can be accomplished outside of the foreign culture in the native culture the observer exist in (counter-culture, cultural club or organizations for examples).

One has to complete all three phases to be considered totally "coculturated." For example, a student(s) at a high school who join a Spanish club are in the process of only Phase 1. Depending on the length of time as a member and the amount of training in the language and cultural history and ideas, one can only begin to tap into Phase 2 and possibly Phase 3. Although, there exist foreign exchange programs for students to live in the foreign culture for a semester or a fiscal school year; allowing these student(s) time to develop an understanding of the culture in it's raw environment. 

The thing here is some student will remain to live in the culture's environment while others return to their native environment with the experience and training oof the culture's language and ideas. That key piece of evidence is where coculturation hits a snag of sorts with this limbo in only Phase 1 and 2; once one steps into Phase 3, there is there is the totality of commitment to consider. One has to be truly engulfed in the process to be "culturated (transformated)."

In truth, coculturation can only be achieve if you follow the Phases completely. There are no short-cuts. if, one wants to be "ethnated" they must allow total commitment and follow the process to total completion. If, one can't finish Phase 3 then the reward will not come into total fruition of coculturation.

My next blog will be based on a phrase I call the "pleasure ion." One wonders what does it mean? What does this principle of pleasure refer to? Well, you will have to wait until the next blog.

Here is a little clip to introduce one to what may be a pleasure ion:

Also, I will be holding a writing contest real soon. Stay tune to these blogs. I will give details in about a month! There is a cash prize and a grand prize that is a new laptop computer. Over $500 dollars in prizes will be given away! Stay tuned!

I wrote this piece for a different website close to a year ago. I wanted to include a video. Well, this video (documentary) should explain what I wanted to convey with this article. The context should point out acculturation, enculturation, and coculturation processes of cultural transformation of the Self . This is one aspect of Reflexive Psychology.

Furthermore, in Reflexive Psychology, this is where culture collides with environment. What is unveiled is how environments influence, or is influenced, by culture. Even though, this is sexual in nature. The point is validly clear. Culture and environment goes hand in hand with the main aim being survival, power, and family. This phenomenon of "family" or "ban" is a stable for sex culture; henceforth, exotic-erotic dance, a.k.a. stripping. Enjoy the article and the film. 

THE STRIP GAME




The world of erotic dance

“. . . .it’s unheard of for one who has such inclination to be inclined to start a rebellion. The gentlemen [women] devote his [or her] efforts [are] the root[s], for once this root[s] is [are] established the Way will grow there from. Being as a good son [daughter] and obedient as a young man [woman] is perhaps, the root of a man’s [woman’s] character.” - -Confucius

What could be more entertaining then watching a woman or a man sensually move their bodies in arousal of one’s pleasure, or awaken one’s desire? Is there a connection for this act of sensual arousal or is this all business; nothing more than an income for the dance to fulfill their immediate living expenses to survive?
   
    As we know, Strippers (whether male or female) dance for money to pleasure their spectator’s voyeuristic endeavors. Strippers have been portrayed as “Whores”, “Home-wreckers”, “Sluts”, and “Teases”, etc. I admit every business has a good side and/or a bad side to them, but there is always a means to justify the sweat and the long hours these dancers put into preparing for their performance and their audience.

Erotic Dancing, as the definition states, is “[1] a major category or classification of dance forms or dance styles, where the purpose is the stimulation or arousal of erotic or sexual thoughts or actions.”  Furthermore, what more can I introduce in this piece to clarify thoughtful comprehension of this sexual phenomenon? I plan try to introduce, in both Parts, printed-electronic sources, a video clip, a movie, photos, and personal stories from various personalities who ascribe to this lifestyle, and how its impact upon their lives in an abstract and a concrete influence is key to understand the phenomenon and the performers. What can history provide for us about Erotic Dancing?

History of Erotic Dance culture.

    Erotic Dancing, (Striptease) has existed for close to 400 years. The evidence of its existence was recorded [7] in Thomas Otway's comedy The Soldier's Fortune (1681) a character says: "Be sure they be lewd, drunken, stripping whores". This insertion is the prime example of the existence of erotic dancing in an esoteric societal presence.
    There is the existence of a mythological story about erotic dancing in the “Dance of the Seven Veils of Salome;” as stated, “[7] at each of the seven gates, she removed an article of clothing or a piece of jewelry. As long as she remained in hell, the earth was barren. When she returned, fecundity abounded….” There is a quote in the Holy Bible from the New Testament, about erotic dancing, in Mark 6:21-22 that states, “[1] Finally [,] the opportune time came. On his birthday Herod gave a banquet for his high officials and military commanders and the leading men of Galilee. When the daughter of Herodias came in and danced, she pleased Herod and his dinner guests.”
    And lastly, [1] Ancient Greece set the tone for erotic dancing with a lawgiver named ‘Solon’ that state, “[He] established several classes of prostitutes in the late sixth century B.C. Among these classes of prostitutes were the auletrides, who were dancers, acrobats, and musicians. The auletrides served as early examples of the tradition of using dance to sexually excite men, with striptease included in the performance.”
    All these historical facts have provided supple information that leads us to the next phase of this discussion on erotic dancing. This investigation can slowly open the can of worm into this taboo world of seduction with the reclusive behaviorism centered upon a lifestyle dedicated to the’ servicing’ of desires for men and women. Yet, one could ponder the thought of a supernatural, spiritual entity existing in this dynamic of dancer and spectator, a sort of worship unveiled in these environments of the American underbelly in society. So, where does the erotic becomes exotic and at what cost? What is gained and how much is expected at the cost of these dancers and these spectators?

What are the costs for exotic eroticism?

When anyone visits a strip club they are there for an experience of pleasure, and relaxation from the world outside the establishment walls; this sanctuary from the constraints of daily ‘status quo’ is exclusive and, always, in high-demand.  Realization is the simple the principle to function as sedative of anxiety and stress from everyday life. The customer is allowed the time to unwind from their day for they could not receive at their private residence; however, the cost, for such an extreme lifestyle, can estimate variously.
    As I read from the book ‘Striptease Culture’ by Brian McNair, it was stated, “[8] the ‘pink pound’ is one manifestation of the fact that the pleasurable, recreational dimensions of sexuality have long made it the lucrative object of capitalist entrepreneurship, based on the transformation of desire and the promise of sexual pleasure into various types of commodity.” From this insert, we can narrow one’s assumption that erotic dancing has constructed a massive economic foundations; the money made, in this industry, is there and those who are willing to display themselves as products are able and freely with the small price attached to it.
    However the amount of this price tag for refuge-pleasure, a relevant peculiarity is the etiquette a dancer contains in her professional facade, which is ascribed with the territory of being a dancer. They must display gratitude, be ‘thankful’ to there customer much like a customer who has been ‘serviced’ a meal or drink. The key word is ‘serviced.’ This is an industry, like any, and people are being ‘serviced’ for their time; just as the product advertised, there will be a relationship derived from the ‘supply-demand’ ethic.
    For instance, I remember researching a subject for my sexuality paper and I watched a DVD of an adult film titled, “Asia Noir 3” that featured, the subject,  an adult star named Takako (a.k.a. Jade-Blue Eclipse); this DVD featured an interview with Takako, in which, she discussed various subject pertaining to her lifestyle as an erotic dancer and a adult film actress. She mentioned in this interview, “I feel, what I do, is giving a ‘service’ to my customers, nothing more.” Her professional attitude and unique personality was one of the powerful aspects of her [in]famous celebrity in the sex industry in San Francisco. As any other business, when an erotic dancer gives a private dance, striptease or performance on stage it is very important these dancers show respect and show gratitude to their customers. Their customers are their money-line and their attitude will produce results accordingly.
    The average salary for an erotic dancer depends on their qualifications as a dancer, just like any professional position, such as:
·    Experience (Years of dance expertise)

·    Establishment (Club a dancer works)

·    Attitude  

·    Appearance (Body type/Performance costume)

·    Skills (Type of dance style-format)

·    Schedule (Availability/Hours to perform)

[10][11] The pay will be effectual by the same attributes I have stated about; henceforth, the average an erotic dancer makes a night could range from 0$ to $7000; an average night could range from $200 - $800 (3-4 nights a week); an average week could range from $600 - $2400; and an average month could range from $2400-$9600; furthermore, their yearly salaries could equal or surpass a six-figure range.
    The money factor is one major influence, but the performance factor leads to an even greater motivation. These dancers opportunity for expression in front of a group is an accolade that serves a greater treasure, itself. The performance is a pleasure, and release similar to the constraints for an artist to render subconscious communication, tell a story, or express a thought; too add, from McNair’s book ‘Striptease Culture’ a discussion about women artist in the book solidify my point, “[8] Women have, historically, been ‘underarchievers’ in art because they have lacked not talent so much as social, economic and cultural power to be artists in a male-dominated world.”  That sentence expresses the fact why erotic dancing is a popular occupation for women (however, men are dancers as well, but their sexual orientation could be a mood factor to easily choose this profession) and how important it is for some of these dancers, artist to exist as they have been.
    Some of these dancers are seizing these occasions for this moment, this forum, and this style to be vivid as artist and shine as performers while escalating towards something greater in their lives. How great could they become? Better yet, what does this culture offer these erotic dancers, in life, that many other avenues can’t provide?

What does Erotic Dance culture provide?

  These erotic dancers have created a culture, a place in the world, where they can feel safe, secure, and comfortable about their personalities inside and outside of the establishments they work. Whenever a group of individuals are a part of a group they call it many things: a unit, a gang, a brotherhood/a sisterhood, an order, and a clique, but these words lead to one major focal nomenclature – “FAMILY.”

     The vital aim is to sustain cultural strength; by continual increase of dividends, and forging stout relationships with the clients, and amongst the dancers themselves. The support base for this community, of taboo-sex culture, has many powerful tides with many prominent figures in the cities these establishments exist. As Krishnamurti has stated in his book On Love and Loneliness, “[12] so can our minds fine freedom? Can our minds be tremendously alive and clear, perspective? – not[,] the perception that we have gathered from others, from philosophers, psychologists, and the so-called spiritual teachers, who are not spiritual at all. When there is a quality of deep, passionate freedom, then sex has its own place.” This community is the freedom and the space many seek in their private fantasies of pleasure. These dancers understand what they are providing is a therapeutic remedy for the clients in need of their moment in sanctuary; however, this relation is vice-versa for the dancers themselves have gained motivation and self-confidence from the attention of their clients and their dividends they received from their performance.
    The erotic dance culture is just like any other culture. They want to find a place in this world where they can express, provide a source of livelihood (income), and enjoy the many freedoms people would on a regular basis. Most of these dancers seek this position as a quick dividend-growth opportunity toward affording advancement opportunities in their life. It’s very interesting and very inspiring to acknowledge many of these dancers are not prostitutes, not drug addicts, or gangster’s girlfriend. They come from good families (some who know about their lifestyle), are dance performers (different dance disciplines), are actors-actresses, and are students; who are seeking to fortify their incomes for a more sustainable future. However, where will this culture be in the future? Will there be an existence of an erotic dance club in 10 years?
When will the dancer’s flame burn out?

   What future awaits the Erotic Dance culture?

The economy has brought a drastic shift with a momentous derailment of prosperity; regardless of this fact, there exist many erotic dance establishments with many clients seeking adult entertainment. As McNair points out in ‘Striptease Culture,’ “[8] Anthony Giddens has correctly observed that ‘sexuality is a terrain of fundamental political struggle and also a medium of emancipation.’” Sexuality has a strong attachment to the socio-political duality of American culture.  The nuance phrase ‘sex sells’ runs sublimely in the hearts and the minds of the clients, of the dancers, and the business owners of these establishments, understanding this need of private and of sexual sanctuary for a particular group of individuals is a key selling point. It’s historical, spiritual, and traditional in one shell; however, the voice and the stories of the erotic dancers, themselves, are another side of the coin. 
     I focused much of the discussion on the socio-political facet of this phenomenon, yet I had no room in this article to express who these dancers are, as people. Therefore, I will discuss more in Part 2 in that area with plenty stories and plenty explicative tidbits of information about these dancers, in a personal scope;  yet, will this better explain why these people have become erotic dancers? Will this add clarity to a subject about a lifestyle many consider obscene, obscure, and oblivious to morality? As I write this piece there is some man or woman right now dancing their time away for a means unknown to them, but what is certain for them as they continue to dance their time away in an establishment in some part of a city distant from our lives, but encompassed in their world?

REFERENCES

[1] Erotic dancing. (2010, August 11). In Wikipedia, The Free Encyclopedia. Retrieved 16:55, August 25, 2010, from http://en.wikipedia.org/w/index.php?title=Erotic_dancing&oldid=378339825

[2] Striptease. (2010, August 24). In Wikipedia, The Free Encyclopedia. Retrieved 16:56, August 25, 2010, from http://en.wikipedia.org/w/index.php?title=Striptease&oldid=380738598

[3] Krishnamurti, Jiddu. (1994). On love and loneliness. HarperOne.

[4] McNair, Brian, Librarian-at-Large, University, Librarian, University, Division, British, Services, British, & Bibliography, Council. (2002). British national bibliography. Psychology Press.

[5] Confucius, Confucius, & Lau, Dim. (1979). The Analects (lun yü). Penguin Classics.

[6] Testimonial, Student. (2009, May 13). How much Money do strippers make?. Retrieved from http://www.stripandgrowrich.com/blog/tag/how-much-does-the-average-stripper-make/

[7] Avalon, Rebecca. (2010, May 9). Stripper wages - how much money do strippers make?. Retrieved from http://ezinearticles.com/?Stripper-Wages---How-Much-Money-Do-Strippers-Make?&id=4259406

REFLEXIVE THOUGHT #9: 

Ethnography, how does this 

apply to the self, 

the observer?

My first semester at CSULB in the Spring of 2011, I was introduced to a subject that uses psychology research technique in anthropological research setting. They call this ethnography. Ever since that first class, my mind has open to the myriad of possibilities for my future as a psychologist. I just finished another semester of at CSULB taking Global Ethnography. It was enough to staple my fascination and convert it to my future endeavor as a psychologist, writer, and teacher. So, let me introduce you to what I have discovered the past year and a half at CSULB that reflects my attitude as a student of psychology.

First, ethnography is a branch of anthropology dealing with the scientific description of individual cultures. In this genre of anthropology, there are two terms that intrinsic for the observer to contain they witness these nuances of a society from any level or perspective. Before that, I want to define another perspective when an observer contains such an attitude within the perspective of cultural transformation upon garnering a cultural identity.This attitude is defined as the term ethnocentrism.

Ethnocentrism the belief in the inherent superiority of one's own ethnic group or culture; a tendency to view alien groups or cultures from the perspective of one's own. This term represent the attitude of an observer studying culture from a positive or negative point-of-view. Whichever position the observer may hold, it is a necessary attitude in studying cultural environments, habits, and activities; in order, for the observer to draw some knowledge and some conclusions to the questions sought about this civilization existence and influence upon the observer, or the world.

Before I introduce the term I coin "Cultural transformation", I want to clarify, defend, what I stated in the previous paragraph about the observer's stance in ethnographic and ethnocentric positions. There are terms to describe the process the observer complete while obtaining knowledge in civilizations foreign to their native environments: The terms are acculturation, enculturation, and a new term I define as "coculturation." First here are the definitions:

• Acculturation: cultural change; a change in the cultural behavior and thinking of a person or group of people through contact with another culture.
• Enculturation: the gradual acceptance by a person or group of the standards and practices of another person or culture.
• Coculturation: the combination of acculturation and enculturation in coalesce of a individual or group initiation into a culture based upon some of its beliefs, attitudes, creeds, politics, and social rules while existing in that environment.

Henceforth, in acculturation, you begin to accept value that are of another culture while in your present native culture; in enculturation, you are accepted by the persons or group of the culture whom standards and beliefs you practice; from both these process you have evolved to coculturation, which is you are fully cultured upon this society you hold favor to while living in that environment. 

These processes will allow one to experience a cultural transformation (the act or the process, in which, an individual, a group, or event change when they are conforming to a cultural norm, belief in the guise of appearance, nature, and character while in acceptance within the culture and environment)  from the observer's point-of-view. Then, the observer could institute a certain amount of knowledge to inform the audience for the purpose of education, entertainment or personal wish fulfillment; just to make intellectual conversation.


The point being, this term's existence conveys a lucid foundation in the process of learning about other cultures and environments, in order, for others to self-create a more intrinsic approach to accepting these phenomenon at face value instead from a narrow position that is caustic in attitudes not privy to nuance of alien civilizations.

When studying or visiting different civilizations, the observer acknowledges a different language foreign from their native tongue is spoken. This idea of language is essential in the study or leisurement of a culture. I began to investigate this topic of language in observer's, whether that be ethnographic-ethnocentric or neither, position; so, I googled and found the web page of a Professor James Lett (Emic/Etic Distinctions_James Lett) who is a Anthropology and Geography Professor at Florida Atlantic University. He spoke about certain terms explaining the linguistic (of relating to the scientific study of language) position experienced by an observer while in the study or leisurement of a foreign civilization. These terms are etic and emic. Here is what was said:

• Etic: using an outside observers categorizations; making use of preestablished categories for organizing and interpreting anthropological data, rather than categories recognized within the culture being studied.
• Emic: Analyzing structural and functional elements;.relating to the analysis of structural and functional elements of language or behavior; Using categorizes of people studied; relating to the organization and interpretation of data that makes use of the categories of the people being studied.

In etic position, is the observers data or information retrieve from their experience. This would be their side of the story and no less. In the emic position, the observers information is studied and used to explain the experience. This would give clear detail to the person wanting information on a specific topic about the culture, or civilization being studied by the observers interpretations of their language and beliefs.

  
From these perspectives of language acquisition by the observer in  a foreign culture, they can comprehend a prudent foundation that assisted in their acceptance into any target civilization while obtaining the knowledge,  and the means necessary to clarify why a culture has certain habits, traits, and attitudes while inhabiting in an environment without fault or despair. 

It is important for any observer on any level to grasp the concept of cultural transformation and its foundations: acculturation, enculturation, and coculturation. If anyone has not grasped any of these ideas then there will be difficulty in existing in these civilizations without any problem. If you want to learn of culture and exist in its environment then you must grasp this process within yourself. This will reflect your experience as you exist in these civilizations without fail.