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

苏菲的仪式构成了对上帝的爱的神秘感觉的表达。它由宗教赞美诗组成，由僧侣吟唱，并用乐器伴奏。它通常是在阿拉期间进行的，可以在苏菲兄弟会中举行的小组会议或在mawalid期间，为纪念圣人而庆祝的宗教节日。自20世纪70年代新技术进入阿拉伯世界以来，因沙迪尼见证了不断的变化。新的音频和视频技术将乐器引入了新的环境：音乐厅、私人住宅和国际音乐节，从而改变了乐器的社会地位和音乐结构。自20世纪90年代以来，国家行为者和改革派苏菲团体试图控制麻麻表演的场所——麻麻表演的主要背景。根据公共领域的“现代”和“文明”形象的叙述，被批评为不道德和混乱的人，受到空间重组的影响。尽管如此，它仍然保留了它的精神根源，保留了一种具有特定角色、声乐风格和诗意信息的现象。如何解释这种耐力？这个项目的目的是寻找新的见解，特别是在2011年后政府转向马勒德的情况下，对马勒德及其共鸣。她将通过两种不同的马瓦利德的声音人种志来关注inhad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.