“It is impossible to imagine ancient Greece without its sanctuaries.” (J. Whitley, Archaeology of Ancient Greece [Cambridge, U.K.: Cambridge University Press, 2001], 134). The same statement could be made for the Roman world. Sacred space was a key omnipresent tenet of ancient Greek and Roman societies—the physical manifestation of the degree to which the ancients dedicated time to the wide spectrum of gods who controlled their worlds. Since the 1990s, the study of sacred space has moved from one primarily undertaken by archaeologists and architects fixated on monumental structures (with the study of religious ritual conducted by scholars of religion mainly through literary and inscriptional sources), to one in which the space is understood as a dynamic and key component in the ritual process, an equal player in the creation of the human understanding and experience of the divine. Yet alongside this reconsideration of the importance of space in the dynamics of ritual, there has also been an increasing appreciation of the multiple roles sanctuaries played, and played host to, within the wider landscape. Sacred spaces are thus key players in the ordering of landscapes, they offer the potential for the development and scope of civic and individual power, and they act as the locus for identity development, civic competition, and the articulation of changing power balances in the wider world. Sacred space has as a result shed its fixed and positivist image: we recognize sacred spaces as everything from natural groves to massive architectural complexes—as places that are constantly changing and constantly being used simultaneously for a variety of sacred and secular activities, experienced and understood simultaneously in a multitude of ways by their different users, and that engage dynamically and heterogeneously with their surrounding secular environments.
Jason C. Bivins
Music in American public life is best understood not simply as the formal arrangement of religious texts in sound but as a fluid arena of exchange between performers, participants, and audiences. In these exchanges we note the transformation of religious traditions themselves, as they navigate contact with their others and the challenges of public life or secularism; we also see the emergence of American religious musics as alternate publics themselves, in which new understandings of authority, tradition, and identity are negotiated. What is more, in recent decades American genre music—from jazz to hip-hop—has become a steady arena in which new forms of religiosity are proposed and debated.
Ancient Greek religion was a polytheistic religion without a book, church, creed, or a professional priestly class. Due to the extraordinarily rich regional varieties in cult, fragmentary evidence and conjectural interpretations of it, conflicting mythological accounts, and the span of time treated, not a single absolute statement can be made about any aspect of Greek religion and exceptions exist for every general rule stated here. Since Ancient Greeks perceived all aspects of nature as either divine or divinely controlled, and all aspects of individual and social life were thought to be subject to supernatural influence, paying proper respect to the gods and heroes was understood to be a fundamental necessity of life. Since no aspect of individual or social life was separate from “religion,” scholars refer to Ancient Greek religion as “embedded.”1 The closest Ancient Greek comes to the English word “religion” are the noun thrēskeia (“acts of religious worship, ritual, service of gods”) and the verb thrēskeuō (“to perform religious observances”). Basic components of religious worship were the construction and upkeep of divine precincts, statues, altars, and temples, the observance of festivals, performance of sacrifices, bloodless offerings and libations, prayer, hymning, and observance of ritual abstinences and purifications. The closest Greek equivalents to “belief” were eusebeia (“reverent piety,” “respect”) and pistis (“trust in others” or “faith”).2 Both words could qualify a relationship between humans, as well as a relationship between humans and a supernatural entity. Since the Ancient Greeks did not have authoritative or divinely sent books of revelation, there was no script telling them what or whom to believe in and outlining the reasons why. The Greeks did not have professional priests who preserved, interpreted, and disseminated religious norms.3 However, Greek literature is brimming with gods, and the stories about the gods, which they (and we) call “myths,” were not only in all their texts, but everywhere around them: depicted on their pottery, painted on their walls, chiseled on the stones of their buildings.4 In the public space, there were countless divine statues, and the temples, altars, sacred groves, and divine precincts were everywhere around them. Ancient Greeks learned about the gods by hearing, watching, and doing: by seeing their parents perform a sacrifice, by observing them as they prayed, swore an oath, or performed libations, by participating in processions, singing and dancing in the chorus, eating the sacrificial meat in the sanctuaries, and by drinking wine, the gift of Dionysus. Ancient Greeks had no immediate need for theodicy, for the gods could be either benevolent, or angry, and their benevolence was perceived as a sign that the worship the community offered was appropriate, whereas natural catastrophes, crippling defeats in wars, or epidemics were interpreted as manifestations of divine anger, provoked by some human error or misstep.5 Ancestral gods and heroes and the traditional way of worshipping them formed the cornerstone of Greek religiosity.