Historical ecology: Past, present and future

Article (PDF Available) in Biological Reviews 90(4):997-1014 · August 2015 

DOI: 10.1111/brv.12141

https://www.researchgate.net/publication/265171942_Historical_ecology_Past_present_and_future

• 

  Péter Szabó

  • of Botany of the ASCR

Abstract

The term ‘historical ecology’ has been used with various meanings since the first half of the 20th century. Studies labelled as historical ecology have been produced in at least four academic disciplines: history, ecology, geography and anthropology. Although all those involved seem to agree that historical ecology concerns the historical interconnectedness of nature and human culture, this field of study has no unified methodology, specialized institutional background and common publication forums. Knowledge of the development of historical ecology is also limited. As a result, the current multitude of definitions of historical ecology is accompanied by divergent opinions as to where the origins of the field are to be sought. In this review, I follow the development of historical ecology from the 18th century to the present. In the first part, I briefly describe some early examples of historical ecological investigations, followed by a description of the various scientific strands in the 20th century that contributed to the formation of historical ecology. In the second part, I discuss the past five decades of historical ecological investigations in more detail, focusing mostly (but not exclusively) on works that their respective authors identified as historical ecology. I also examine the appearance and interconnectedness of the two main trends (ecological and anthropological) in historical ecological research. In the last part, I attempt to outline the future of historical ecology based on common features in existing research. It appears that at present historical ecology is at a crossroads. With rapidly growing interest in historical ecological research, it may move towards institutionalization or remain an umbrella term.

Sacred Arts of Orisha Traditions

Special Collections Gallery

https://www.library.georgetown.edu/exhibition/sacred-arts-orisha-traditions

July 5, 2017

September 30, 2017

Orisha religions are a world-wide network of spiritual traditions originating among the Yoruba people of Nigeria and spread across the Americas by enslaved Yoruba men and women in the nineteenth century. Orishas themselves are spiritual powers associated with royal lineages, forces of nature, and, often, the saints of popular Catholicism. 

Sacred Arts of Orisha Traditions features objects collected over nearly forty years by Joseph M. Murphy, the Paul and Chandler Tagliabue Distinguished Professor of Interfaith Studies and Dialogue. For devotees of Orisha religions, these items represent and invoke sacred powers as emblems of particular Orishas. They illustrate the religious pluralism which is a distinctive and creative feature of many Orisha religions. 

The creativity revealed by these objects reflects the diversity of the Catholic experience and its embrace of dialogue among religious traditions.

Acknowledgments: 

Guest Curator: Joseph M. Murphy, the Paul and Chandler Tagliabue Distinguished Professor of Interfaith Studies and Dialogue

Liason from the Booth Family Center for Special Collections: Christen E. Runge, Assistant Curator, Art Collection

With assistance from Special Collections Intern Charles T. Cooper (C

SELECTIONS FROM THE ONLINE EXHIBITION

Ochún Mazo

Initiation necklace for the oricha Ochun
Martin Tsang
Glass and plastic beads
Miami, FL, USA, 2017
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These magnificent necklaces are worn by new devotees during their
initiation. This one marks the wearer as a devotee of Ochún Ololodi, the
diviner Ochún. When not worn the mazo necklaces decorate home
altars.

Kélé Todos Orixás

Necklace for all the orixás
Glass beads
Rio de Janeiro, Brasil, 1991
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This necklace is a composite of symbols for fifteen orixás. Each is
indicated by color and pattern.

Ferramentas de Oxum [set of 4]

Set of tools for the orixá Oxúm
Afroarte Indústria
Brass and copper
Rio de Janeiro, Brasil, 1991
L.2017.2.1

These items form part of the regalia for the orixá Oxúm. They are worn
or carried by new initiates when they are first presented to the
community and when they incorporate the orixás in ritual dance.

Adé Ochún with Tinaja

Altar crown for the oricha Ochún
Juan Gonzales (crown)
Brass crown with ceramic vessel
Miami, FL, USA, ca. 2000
L.2017.2.4

These crowns are placed atop vessels that hold the fundamental symbols
of the orishas, often stones and shells. This crown shows the color and
number of Ochún. The finial is her avatar, the Virgin of Charity.

Altar for Ochún

Altar for Ochún featuring statue of the Virgin of Charity. Vessels,
yellow flowers, honey, and beaded necklaces reference
Ochún. All is brilliant, golden, rich, and fecund.
Washington, DC, 2010
Photograph by Joseph M. Murphy

Adé Oya with Tinaja

Crown for the orisha Oya, mounted on blue vase
Antonio Salas (crown)
Copper crown with ceramic vessel
Miami, FL, USA, 2002
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As many of the orishas are royal figures their fundamental symbols – held
in porcelain vessels – are crowned with royal emblems. Here the orisha
Oyá is symbolized by red‐metal copper, nine tines, and nine miniature
“tools” showing her mastery of lightning, death, and the cemetery.

Adé Iemanjá Asésú

Initiation crown for the oricha Yemayá Asésú
Painted cardboard with applied fabric trims, plastic beads,
and shells
Miami, FL, USA, 2017
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This crown would be worn by new initiates into the devotion of Yemayá.
On the middle day of the initiation period, the new initiate is presented
to the community in the finery of his or her patron orisha.

Garabato Eleggua

Hook for the oricha Eleggua
Glass beads, cowrie shells, wire, wood
Miami, FL, USA, ca. 2000
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The garabato is a stylized hook used by Eleggua to clear paths of
vegetation. In dance Eleggua will brandish the garabato and sometimes
use it to trip unsuspecting onlookers.

Oché Changó

Axe for the oricha Changó
Alberto Druyat
Acrylic paint on wood
Matanzas, Cuba, ca. 2005
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The double‐headed axe is the preeminent symbol of Changó the orisha of
royalty, thunder, and lightning. This bright piece would adorn one of
Changó’s elegant altars and might be taken up by one of his mediums
and carried like a powerful wand in ceremonial dance.

Oxé Xangó

Copper double‐headed axe for the orixá Xangó
Copper
Salvador da Bahia, Brasil, 1991
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In Brazil as in Cuba the double‐headed axe is the premier symbol of the
orisha of royalty, thunder, and lightning. As a “red metal” this copper
oxé highlights Xangó’s embodiment of fire and hot energy.