Editing Ritual (section)

== Characteristics ==
{{anchor|actions}}
There are hardly any limits to the kind of actions that may be incorporated into a ritual. The rites of past and present societies have typically involved special gestures and words, recitation of fixed texts, performance of special [[music]], [[singing|songs]] or [[dance]]s, processions, manipulation of certain objects, use of special dresses, consumption of special [[food]], [[drink]], or [[entheogen|drugs]], and much more.{{sfnp|Tolbert|1990a}}{{sfnp|Tolbert|1990b}}{{sfnp|Wilce|2006}}

[[Catherine Bell (religious studies scholar)|Catherine Bell]] argues that rituals can be characterized by formalism, traditionalism, invariance, rule-governance, sacral symbolism and performance.{{sfnp|Bell|1997|pp=[https://archive.org/details/ritualperspectiv00bell/page/n154 138]-169}}

=== Formalism ===
[[File:IteMissaEst.jpg|thumb|The use of Latin in a [[Tridentine Mass|Tridentine Catholic Mass]] is an example of a "restricted code".|alt=Priests performing a mass.]]

Ritual uses a limited and rigidly organized set of expressions which [[anthropologist]]s call a "restricted code" (in opposition to a more open "elaborated code"). Maurice Bloch argues that ritual obliges participants to use this formal oratorical style, which is limited in intonation, syntax, vocabulary, loudness, and fixity of order. In adopting this style, ritual leaders' speech becomes more style than content. Because this formal speech limits what can be said, it induces "acceptance, compliance, or at least forbearance with regard to any overt challenge". Bloch argues that this form of ritual communication makes rebellion impossible and revolution the only feasible alternative. Ritual tends to support traditional forms of social hierarchy and authority, and maintains the assumptions on which the authority is based from challenge.{{sfnp|Bell|1997|pp=[https://archive.org/details/ritualperspectiv00bell/page/n155 139]–140}}

===Traditionalism===
[[File:The First Thanksgiving cph.3g04961.jpg|thumb|''The First Thanksgiving 1621'', oil on canvas by [[Jean Leon Gerome Ferris]] (1863–1930). The painting shows common misconceptions about the event that persist to modern times: Pilgrims did not wear such outfits, and the Wampanoag are dressed in the style of [[Plains Indians]].<ref>{{cite news | title=LET'S TALK TURKEY: 5 myths about the Thanksgiving holiday | newspaper=[[The Patriot Ledger]] | date=November 26, 2009 | url=http://www.wickedlocal.com/capecod/visitor_guide/fun/x1945267987/LETS-TALK-TURKEY-5-myths-about-the-Thanksgiving-holiday?img=2 | access-date=2010-08-01 | url-status=dead | archive-url=https://web.archive.org/web/20131114044805/http://www.wickedlocal.com/capecod/visitor_guide/fun/x1945267987/LETS-TALK-TURKEY-5-myths-about-the-Thanksgiving-holiday?img=2 | archive-date=November 14, 2013 }}</ref>]]

Rituals appeal to tradition and are generally continued to repeat historical precedent, religious rite, [[mores]], or [[ceremony]] accurately. Traditionalism varies from formalism in that the ritual may not be formal yet still makes an appeal to the historical trend. An example is the American Thanksgiving dinner, which may not be formal, yet is ostensibly based on an event from the early Puritan settlement of America. Historians [[Eric Hobsbawm]] and [[Terrence Ranger]] have argued that many of these are ''[[invented traditions]]'', such as the rituals of the British monarchy, which invoke "thousand year-old tradition" but whose actual form originate in the late nineteenth century, to some extent reviving earlier forms, in this case medieval, that had been discontinued in the meantime. Thus, the appeal to history is important rather than accurate historical transmission.{{sfnp|Bell|1997|pp=[https://archive.org/details/ritualperspectiv00bell/page/n161 145]–150}}

=== Invariance ===
[[Catherine Bell (religious studies scholar)|Catherine Bell]] states that ritual is also invariant, implying careful choreography. This is less an appeal to traditionalism than a striving for timeless repetition. The key to invariance is bodily discipline, as in monastic prayer and meditation meant to mold dispositions and moods. This bodily discipline is frequently performed in unison, by groups.{{sfnp|Bell|1997|pp=[https://archive.org/details/ritualperspectiv00bell/page/n168 152]–153}}

===Rule-governance===
Rituals tend to be governed by rules, a feature somewhat like formalism. Rules impose norms on the chaos of behavior, either defining the outer limits of what is acceptable or choreographing each move. Individuals are held to communally approved customs that evoke a legitimate communal authority that can constrain the possible outcomes. Historically, war in most societies has been bound by highly ritualized constraints that limit the legitimate means by which war was waged.{{sfnp|Bell|1997|p=[https://archive.org/details/ritualperspectiv00bell/page/n171 155]}}

===Sacral symbolism===
[[File:Ritual Practitioner on Inwangsan Mountain (Detail).jpg|thumb|Ritual practitioner on Inwangsan Mountain, Seoul South Korea]]

Activities appealing to supernatural beings are easily considered rituals, although the appeal may be quite indirect, expressing only a generalized belief in the existence of the sacred demanding a human response. National flags, for example, may be considered more than signs representing a country. The flag stands for larger symbols such as freedom, democracy, free enterprise or national superiority.{{sfnp|Bell|1997|p=[https://archive.org/details/ritualperspectiv00bell/page/n172 156]}} Anthropologist Sherry Ortner writes that the flag:
{{blockquote|does not encourage reflection on the logical relations among these ideas, nor on the logical consequences of them as they are played out in social actuality, over time and history. On the contrary, the flag encourages a sort of all-or-nothing allegiance to the whole package, best summed [by] 'Our flag, love it or leave.'<ref>{{cite journal|last=Ortner|first=Sherry|title=On Key Symbols|journal=American Anthropologist|year=1973|volume=75|issue=5|page=1340|doi=10.1525/aa.1973.75.5.02a00100|doi-access=free}}</ref>}}

Particular objects become sacral symbols through a process of [[consecration]] which effectively creates the [[Sacred-profane dichotomy|sacred]] by setting it apart from the [[Sacred-profane dichotomy|profane]]. Boy Scouts and the armed forces in any country teach the official ways of folding, saluting and raising the flag, thus emphasizing that the flag should never be treated as just a piece of cloth.{{sfnp|Bell|1997|pp=[https://archive.org/details/ritualperspectiv00bell/page/n172 156]–57}}

===Performance===
The performance of ritual creates a [[theatrical]]-like frame around the activities, symbols and events that shape participant's experience and cognitive ordering of the world, simplifying the chaos of life and imposing a more or less coherent system of categories of meaning onto it.{{sfnp|Bell|1997|pp=[https://archive.org/details/ritualperspectiv00bell/page/n172 156]–157}} As Barbara Myerhoff put it, "not only is seeing believing, doing is believing."<ref>{{cite book |last=Myerhoff |first=Barbara |title=Secular Ritual |year=1997 |publisher=Van Gorcum |location=Amsterdam |page=223}}</ref>{{ISBN missing|date=November 2024}}

The theatricality of ritual may overlap with [[performance art]].<ref>
{{cite journal
| last1                 = Fischer-Lichte
| first1                = Erika
| title                 = Performance Art and Ritual: Bodies in performance 
| journal               = Theatre Research Internationa
| publication-date      = 1997
| volume                = 22
| issue                 = 1
| pages                 = 22–37
}}
in:
{{cite book
 |last1                = Fischer-Lichte
 |first1               = Erika
 |editor-last1         = Auslander
 |editor-first1        = Philip
 |year                 = 2005
 |orig-date            = 2003
 |chapter              = Performance Art and Ritual: Bodies in performance
 |title                = Performance: pt. 1. Identity and the self
 |url                  = https://books.google.com/books?id=7XNNL6Qc3Z4C
 |series               = Performance: Critical Concepts in Literary and Cultural Studies, Philip Auslander, ISBN 0415255112, 9780415255110, Volume 4
 |edition              = reprint
 |publication-place    = London
 |publisher            = Taylor & Francis
 |pages                = 228–250
 |isbn                 = 9780415255158
 |access-date          = 24 November 2024
}} 
</ref>