“Religious ritual survives cultural transmission by embedding episodes of intense, life-defining personal experiences in public performances. These performances involve sequential, socially interactive movement and gesture (chant, dance, murmur, sway) and formulaic utterances that rhythmically synchronize affective states among group members in displays of cooperative commitment. This is often accompanied by sensory pageantry, which further helps to emotionally validate and sustain the moral consensus.”

Introduction: an evolutionary riddle, p. 16
In Gods We Trust: The Evolutionary Landscape of Religion (2002)

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Scott Atran18

Anthropologist 1952

Scott Atran (1952) Anthropologist

Introduction: an evolutionary riddle, p. 16
In Gods We Trust: The Evolutionary Landscape of Religion (2002)

“Religious ritual invariably offers a sacrificial display of commitment to supernatural agents that is materially costly and emotionally convincing. Such ritual conveys willingness to cooperate with a community of believers by signaling an open-ended promise to help others whenever there is true need. These expensive and sincere displays underscore belief that the gods are always vigilant and will never allow society to suffer those who cheat on their promises. Such a deep devotion to the in-group habitually generates intolerance toward out-groups. This, in turn, leads to constant rivalry and unending development of new and syncretic religious forms.”

Scott Atran (1952) Anthropologist

Introduction: an evolutionary riddle, p. 16
In Gods We Trust: The Evolutionary Landscape of Religion (2002)

“[Each person] is a member of one or more functioning workgroups that have a high degree of group loyalty, effective skills of interaction and high performance goals.”

Rensis Likert (1903–1981) American statistician

Source: New patterns of management, (1961), p. 104

“Individuals who participate in interaction rituals are filled with emotional energy, in proportion to the intensity of the interaction. Durkheim called this energy “moral force,” the flow of enthusiasm that allows individuals in the throes of ritual participation to carry out heroic acts of fervor or self-sacrifice. I would emphasize another result of group-generated emotional energy: it charges up individuals like an electric battery, giving them a corresponding degree of enthusiasm toward ritually created symbolic goals when they are out of the presence of the group. Much of what we consider individual personality consists of the extent to which persons carry the energy of intense interaction rituals; at the high end, such persons are charismatic; a little less intensely, they are forceful leaders and the stars of sociability; modest charges of emotional energy make passive individuals; and those whose interaction ritual participation is meager and unsuccessful are withdrawn and depressed.”

Randall Collins (1941) American sociologist

Source: The Sociology of Philosophies (1998), p. 23

“Cosmides and Tooby argue that music's function in the developing child is to help prepare its mind for a number of complex cognitive and social activities, exercising the brain so that it will be ready for the demands placed on it by language and social interaction. …Mother-infant interactions involving music almost always entail both singing and rhythmic movement…”

Daniel Levitin (1957) American psychologist

This is Your Brain on Music (2006)

“Among the rights that States must ensure are the rights to life, security of person, participation in the conduct of public affairs, homeland, movement, health, education, employment and social security”

Alfred de Zayas (1947) American United Nations official

Report of the Independent Expert on the promotion of a democratic and equitable international order on the adverse impacts of free trade and investment agreements on a democratic and equitable international order http://www.ohchr.org/EN/Issues/IntOrder/Pages/Reports.aspx. <br class="br">2015, Report submitted to the UN General Assembly

“Elemental Music is never just music. It's bound up with movement, dance and speech, and so it is a form of music in which one must participate, in which one is involved not as a listener bust as a co-performer.”

Carl Orff (1895–1982) German composer

As quoted in Through Music to the Self : How to Appreciate and Experience Music Anew (1979) by Peter Michael Hamel, p. 18
Context: Elemental Music is never just music. It's bound up with movement, dance and speech, and so it is a form of music in which one must participate, in which one is involved not as a listener bust as a co-performer. It is pre-rational, has no over-all form, no architectonics, involves no set sequences, ostinati or minor rondo-forms. Elemental Music is earthy, natural, physical, capable of being learnt and experienced by anybody, child's play.... Elemental Music, word and movement, play, every-thing that awakens and develops the powers of the soul builds up the humus of the soul, the humus without which we face spiritual soil-erosion.... we face spiritual soil-erosion when man estranges himself from the elemental and loses his balance.

“When an individual appears before others, he wittingly and unwittingly projects a definition of the situation, of which a conception of himself is an important part. When an event occurs which is expressively incompatible with this fostered impression, significant consequences are simultaneously felt in three levels of social reality, each of which involves a different point of reference and a different order of fact.
First, the social interaction, treated here as a dialogue between two teams, may come to an embarrassed and confused halt; the situation may cease to be defined, previous positions may become no longer tenable, and participants may find themselves without a charted course of action…
Secondly, in addition to these disorganizing consequences for action at the moment, performance disruptions may have consequences of a more far-reaching kind. Audiences tend to accept the self projected by the individual performer during any current performance as a responsible representative of his colleague-grouping, of his team, and of his social establishment…
Finally, we often find that the individual may deeply involve his ego in his identification with a particular role, establishment, and group and in his self-conception as someone who does not disrupt social interaction or let down the social units which depend upon that interaction.”

Erving Goffman book The Presentation of Self in Everyday Life

Source: 1950s-1960s, The Presentation of Self in Everyday Life, 1959, p. 155-6

“In many kinds of social interaction, unofficial communication provides a way in which one team can extend a definite but non-compromising invitation to the other, requesting that social distance and formality be increased or decreased, or that both teams shift the interaction to one involving the performance of a new set of roles.”

Erving Goffman book The Presentation of Self in Everyday Life

Source: 1950s-1960s, The Presentation of Self in Everyday Life, 1959, p. 121

“They belonged to that vast group of human automata who go through life without neglecting to perform a single one of the gestures executed by the surrounding puppets.”

Edith Wharton book The House of Mirth

Source: The House of Mirth

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