表演痛苦:信德苏菲音乐,情感,印度西部的印度教-穆斯林关系

IF 0.7 0 HUMANITIES, MULTIDISCIPLINARY Culture Theory and Critique Pub Date : 2020-07-02 DOI:10.1080/14735784.2020.1848602
B. Bond
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引用次数: 0

摘要

本文考察了古吉拉特邦卡奇赫的穆斯林歌手对分离之痛的苏菲情感概念的情感制定,卡奇赫是印度西部与巴基斯坦信德省相邻的边境地区。在讨论苏菲派诗歌Shāh ' Abdul Lat Bhiṭā '(公元1689-1752年)的两种音乐流派(kāfī和shāh jo rāg)时,我认为痛苦的音乐表现在伦理上是有效的,在政治上也是显著的。根据2014-2018年在Kachchh为期18个月的田野调查,本文追溯了诗歌表演者和爱好者如何将音乐-诗意的痛苦视为伊斯兰崇拜的一种形式,这种形式对表演者和听众都有道德上的好处,比如宁静和心灵的净化。因此,它展示了信德苏菲音乐是如何作为一种情感的、具体化的、性别化的和白话文的方式与伊斯兰话语传统接触的。文章的后半部分扩大了焦点,以分离的痛苦为视角,审视克奇的印度教徒与穆斯林的关系。自20世纪80年代以来,克奇的印度教民族主义和伊斯兰教改革导致了社会宗教两极分化。从当地音乐史的例子中,我通过展示Shāh Bhiṭā ' ' '的女声诗歌的音乐表演如何在历史上促进了Kachchh男性社会的宗教间形式,来探索分离之痛的政治突出性。
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Performing pain: Sindhi Sufi music, affect, and Hindu-Muslim relations in western India
ABSTRACT This article examines the affective enactment of the Sufi emotional concept of the pain of separation by Muslim singers in Kachchh, Gujarat, a border region in western India adjacent to Sindh, Pakistan. In a discussion of two musical genres that feature the Sufi poetry of Shāh ‘Abdul Lat̤īf Bhiṭā’ī (1689–1752 CE) – kāfī and shāh jo rāg̈ – I argue that the musical performance of pain is ethically efficacious as well as politically salient. Drawing on eighteen months of fieldwork in Kachchh in 2014–2018, the article traces the ways in which poetry performers and enthusiasts conceive of musico-poetic pain as a form of Islamic worship that has ethical benefits for performers and listeners, such as tranquility and the purification of one’s heart. It thus demonstrates how Sindhi Sufi music functions as an affective, embodied, gendered and vernacular means of engagement with the Islamic discursive tradition. The latter portion of the article widens the focus, taking the pain of separation as a lens through which to examine Hindu-Muslim relations in Kachchh, where Hindu nationalism and Islamic reform have contributed to socio-religious polarisation since the 1980s. Drawing on examples from local musical history, I explore the political salience of the pain of separation by showing how the musical performance of Shāh Bhiṭā’ī’s female-voice poetry historically facilitated interreligious forms of male sociality in Kachchh.
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来源期刊
Culture Theory and Critique
Culture Theory and Critique HUMANITIES, MULTIDISCIPLINARY-
CiteScore
1.20
自引率
25.00%
发文量
6
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