CONTESTED SPACES, SOUND, AND RESONANCE: A SONIC ETHNOGRAPHY ON SUFI INSH D DINI IN EGYPT

苏菲派的宗教仪式表达了对上帝的神秘的爱。它包括宗教赞美诗，由munshid和乐器伴奏。它通常是在ara期间执行，可以在苏菲派兄弟会内举行的小组会议或在mawalid期间举行，这是为了荣誉圣徒而庆祝的宗教节日。自20世纪70年代新技术进入阿拉伯世界以来，因沙德迪尼见证了一场持续的变化。新的音频和视频技术将因沙德人引入了新的环境：音乐霍尔斯、私人住宅和国际音乐节，使因沙德人的社会地位和音乐结构发生了变化。自20世纪90年代以来，国家行为者和改革派苏菲派团体试图控制mawlid的空间-inshad表演的主要背景-发生。被批评为不道德和混乱，mawlid和inshad受到空间重组，根据一个“现代”和“文明”的公共领域形象的叙述。尽管如此，伊沙德仍然保留了它的精神根源，仍然是一种具有特定角色，声音风格和诗意信息的现象。如何解释这种持久性？该项目的目的是寻找关于因沙德及其共鸣的新见解，特别是鉴于2011年后政府对mawlid的转变态度。她将通过两个不同的mawalid声波民族志专注于inshad的仪式。

The ritual of Sufi inshad constitutes the expression of the mystical feeling of love towards God. It consists in religious hymns, chanted by a munshid and accompanied by musical instruments. It is usually performed during the ara, group meetings that can take place within the Sufi confraternities or during the mawalid, religious festivals celebrated in honor of saints. Inshad dini has witnessed a continuous change since new technologies entered the Arab world in the 1970s.New audio and video technologies introduced the inshad to new environments: concert halls, private houses, and international music festivals, producing a shift in the inshad's social status and musical structure. Since the 1990s, state actors and reformist Sufi groups attempted to control the spaces where the mawlid - the main context in which the inshad is performed - takes place. Criticized as unmoral and chaotic, the mawlid and inshad were subjected to spatial reorganization, according to the narrative of a "modern" and "civilized" image of the public sphere. Nevertheless, the inshad still preserves its spiritual rootedness, remaining a phenomenon with a specific role, vocal style, and poeticmessage. What explains this endurance? The aim of this project is to find new insights on the inshad and its resonance, especially in the light of the shifting approach of the post-2011 government towards the mawlid. She will focus on the ritual of the inshad through a sonic ethnography of two different mawalid.