Paper short abstract:

The paper examines the uncertainties and impromptu responses underpinning rituals, arguing that the dynamic tension created add to their efficacy. Grau draws from Kulama a yearly ritual from the Tiwi of Northern Australia and Gore from Igue the annual renewal rituals of the Edo of Southern Nigeria.

Paper long abstract:

Rituals follow a preordained sequence as it is through the precise enactment of specific actions that their efficacy is gained. Yet because they are performative, the anxiety that things may go wrong remains throughout. This uncertainty gives a dynamic tension, which, we argue, is just as important for ritual effectiveness as is the precise protocol followed by participants. At times, impromptu actions are undertaken or arise contributing to the "drama" necessary for a "good" ritual. Our presentation examines two events: Grau considers uncertainties within the regenerative Tiwi ritual Kulama. Working throughout the year men create songs engaging with many issues including commemorating the dead, becoming women, dealing with their mother-in-law, and tackling grievances. During the three-day event, however, a man may occasionally "forget" his words and family women step in and prompt him. Whilst officially marginal and external to this particular context of knowledge, women are drawn in, recognised, and able to reinforce their position. Gore examines how uncertainty is a constitutive aspect of Igue, the annual renewal rituals of the Edo, during which the Oba (king) of Benin honours his paternal ancestors and is in turn honoured by his chiefs after the regeneration of his person through herbs and sacrificial blood. The dramatic highlights of the events occur when first the chiefs and then the Oba himself dance with the ritual sword (eben). Intensity and uncertainty are at the heart of the performances since dropping the sword signals certain death within the year for the bearer.