This is a study of the relationship between music and spirit possession among the Yorùbá of the South-Western part of Nigeria. Through the ages, philosophers and scholars have been interested in the relationship between music and trance possession, especially the question of whether music triggers, influences or sustains trance or spirit possession, and if so, how. This thesis seeks to focus on the relationship between the music used in worship practices where possessions take place, and how the music might initiate and drive the possession states. Spirit possession is a phenomenon which springs from and is associated with the social and belief systems of different people. However, the Aládurà church (an Independent African Church - AIC) worshippers dissociate themselves from the possession practices that are experienced among the Yorùbá indigenous traditional worshippers, while the traditionalists claim that the spirit possession practised in the Aládurà churches originated and has its roots in the traditional practices. This suggests an inherent difference in the two belief systems even though the possession experiences among them are characterised by similar presentations. Following the theory that spirit possession practices are culturally determined, this research seeks to identify the specific cultural elements in the music used in Yorùbá worship traditions where possessions take place, not as a cause and effect, but how music affects the possession process. My study, therefore, sets out to investigate what could be a common factor between the two structurally and contextually different types of music used by the two sects of worshippers with the aim of identifying the common factors in the music, which seem to be the link between the two worship groups. Key words: Music, Spirit Possession, culture, worship.

Vikos Švobaitės aliejinės tapybos darbų kolekciją “Buities ir kultūros dvasia“ sudaro septyni, atskiri paveikslai, kuriuos jungia bendra tema bei idėja. Modernusis žmogus šiandien į daug ką žvelgia kritiškai. Tai, kas dar prieš pusšimtį metų jo seneliams ir tėvams buvo šventa, neleistina, dabar dažnai laikoma jau nevertu dėmesio, atgyvenusiu dalyku, nors, giedodami Vinco Kudirkos mums paliktą Tautišką giesmę – Lietuvos himną, tebekartojame :“Iš praeities tavo sūnūs te stiprybę semia“. Tiktai labiau įsigilinus, susimąsčius atsiskleidžia tos tariamos archaikos giluminė prasmė, reikalinga ir šiandienos egzistencijai. Mūsų protėviams gyvenamoji namų aplinka buvo sava, rodos gerai pažįstama, bet kartu ir paslaptinga. Taigi, savo darbų kolekcija norėčiau atkreipti dėmesį į Lietuvio namus, į tuos paprastus dalykus, kurių dažnai nepastebime. Žvilgterėti į paprasto Lietuvos žemdirbio dar taip neseniai, gal tik XX a. Pirmaisiais dešimtmečiais, gal vienu kitu dešimtmečiu anksčiau buvusią aplinką, pagrindinį dėmesį sutelkiant į gyvenamojo namo, seniau vadinto troba, pirkia, gryčia, vidų, į tai, kas buvo tiesiogiai susiję su žmogumi, šeima, jos buitimi ir siekiais. Taigi, noriu pasidairyti po lietuvio namus senovėje, žvilgterėti į juos ano meto žmonių tikėjimų akimis ir vizualizuoti tai aliejinės tapybos darbų kolekcijoje. Teorinėje magstrinio darbo dalyje naudojau literatūros informacinių šaltinių analizavimo, interpratavimo metodiką. Kūrybiniame darbe naudota aliejinės tapybos... [toliau žr. visą tekstą] / Vika Švobaitės oil paintings collection the spirit of everyday life and culture of seven, separate images connected by a common theme and idea. The modern man today in a lot of things to look at critically. This is what fifty years before his grandparents and parents had been saints, is excluded, is now often regarded as not worth attention, the subject of an obsolete, though, Vinco Kudirka singing National Song left us - the Lithuanian national anthem, repeat; In the past your sons draw strength. Only closer inspection, I became aware of the alleged archaic reveal deep meaning and need of today existence. Our ancestors have been resident in their own home environment seems familiar, but also mysterious. Thus, his collection of works I pay attention to the house to the simple things that are often missing. To see the average Lithuanian farmers more so recently, perhaps only in the twentieth century In the first decades of the decade, maybe one other previously existing environment, focusing on residential building, formerly known as farmhouse, cottage, inside of which was directly related to human , family, household and its goals. So, I want a look at the Lithuanian Hall in ancient times, to see to them at that time peoples beliefs through the eyes and visualize a collection of oil paintings. The theoretical part master used a literary analysis of information sources, interpretation methodology. Creative work used in oil painting techniques. I chose this technique because... [to full text]