Performance, Politics, Piety: Music and Debate in Muslim Societies of North Africa, West Asia, South Asia and their Diasporas

今天，在伊斯兰教的刻板印象中，快乐、辩论和音乐创造力几乎找不到位置。相反，主流话语对伊斯兰教最强烈的象征是暴力、原教旨主义、镇压和不快乐。这种简单化具有误导性。在世界各地，不同的穆斯林社区在与各种社会力量的对话互动中生活着他们的集体身份：殖民主义的遗产、全球化的必要性、散居海外的压力、现代性的要求、神圣的泛伊斯兰激进主义的拉动，以及被认为是“反恐战争”的不公正。全球、本土和跨国的纵横交错的轴心，促使他们巩固集体身份，确认历史遗产，展望未来。像所有社会中的所有人一样，他们也从事令人愉快和愉快的表达行为，同时/特别是通过制作、聆听音乐并通过音乐在情感上得到支持。当代穆斯林生活的表演方面是拟议中的网络的重点。它探讨了通过表演、虔诚和抗议的方式，音乐如何成为伊斯兰教施加重大文化影响的社会中有问题的辩论的载体。关注这些社区内部的辩论，以及“穆斯林世界”与其被认为的敌手之间的差异，可以为伊斯兰、世俗主义和民族主义正统与穆斯林社区内的社会重新定位之间的关系提供新的见解。此外，这种方法可以为激进化、原教旨主义和暴力本身可能如何反击提供关键的线索。因此，该网络将优化个人学者相似研究兴趣的共享。它将为跨学科、跨地区的视角开辟空间，并鼓励人们比较了解，在更广泛的伊斯兰背景下，音乐实践如何使分歧以及跨领域的团结一致。重要的历史原因使音乐成为聆听这些不同声音的富有成效的手段。长期以来，正统伊斯兰教对音乐的敌视与非正统伊斯兰运动的吟唱和有节奏的迭代特征长期共存，这些运动经常被归类为苏菲主义，特别是在南亚。随着伊斯兰教在亚洲和北非的传播，非正统的邪教与地区和当地的音乐、舞蹈和身体实践交叉授粉，创造了多样化的音乐传统。这种异花授粉传达了对伊斯兰正统的纠正，以及对虔诚和伦理的另类解释。今天，这些继承下来的音乐传统与通过MTV文化在全球范围内提供的其他青年抗议音乐相互作用。不仅是散居国外的运动，而且不断发展的技术促进了这种持续的异花授粉。自殖民现代性以来，音乐通过技术/留声机录音、无线电广播、卡带传播，现在又通过CD、DVD和互联网传播。它在现代性中的传播本身就是音乐在现代性和伊斯兰(新)传统主义之间持续斗争中重要性的另一个原因。音乐总是能刺激社区。它创造的与他人的统一感培养了社区认同感，在适当的情况下，有能力将不同的群体聚集在一起。因此，这个新出现和成熟的研究人员和实践者网络将推动举办四个必要的、相互关联的讲习班，讨论下列主题：“抵抗、南方艺术和穆斯林背景下的社区”；“在国家和东正教之下”；“性别、新传统主义和音乐抵抗”；以及“移民、跨民族主义和跨原教旨主义”。该项目强调，伊斯兰教的音乐不能以单一或单一文化的方式构思，该项目的当代相关性将成为研究、实践和政策之间对话的催化剂和场所。

Today, within stereotyped characterizations of Islam, pleasure, debate and musical creativity find little place. Rather, mainstream discourse's strongest signifiers of Islam are violence, fundamentalism, repression and joylessness. Such simplifications are misleading. Across the world, diverse communities of Muslims live their collective identities in dialogic interaction with various social forces: the legacies of colonialism, the imperatives of globalization, the pressures of diaspora, the demands of modernity, the pull of the sacred, pan-Islamic radicalism, and the perceived injustices of the 'war on terror.' The criss-crossing axes of the global, the local and the transnational impel them to consolidate collective identities, confirm their historical legacies and look forward to the future. Like all human beings in all societies, they also engage in enjoyable and pleasurable expressive acts while doing so/ in particular, by making, listening to, and being emotionally sustained through music. The performative aspect of contemporary Muslim life is the focus of the proposed network. It explores how, through the modes of performance, piety and protest, music has become a vehicle of problematic debate within societies where Islam exerts a significant cultural influence. Paying attention to these intra-communal debates, alongside the differences between 'the Muslim world' and its perceived antagonists, can offer fresh insight into the relationship between Islamic, secularist and nationalist orthodoxies and social re-positioning within Muslim communities. Moreover, this approach can shed crucial light on how radicalization, fundamentalism and violence might themselves be countered. The network will therefore optimize the sharing of similar research interests of individual scholars. It will open up space for interdisciplinary, inter-regional perspectives, and encourage comparative understanding of how, within the wider context of 'Islam', music practice enables disagreement as well as cross-cutting solidarities.Important historical reasons make music a fruitful means of hearing such dissenting voices. Orthodox Islam's antagonism towards music has long co-existed in dynamic tension with the chanting and rhythmic iteration characteristic of non-orthodox Islamic movements, often grouped together as 'Sufism', particularly in South Asia. As Islam spread across Asia and North Africa, non-orthodox cults cross-pollinated with regional and local music, dance and bodily practices, to create diverse musical traditions. Such cross-pollinations conveyed correctives to Islamic orthodoxy, and alternative interpretations of piety and ethics. Today, these inherited musical traditions interact with other youth protest music globally available through MTV culture. Not merely diasporic movement but evolving technologies foster such continued cross-pollination. Since colonial modernity, music has traveled through technology/ gramophone recordings, radio broadcasting, cassettes, and now CDs, DVDs and the internet. Its dissemination in modernity is itself another reason for music's importance within the ongoing struggle between modernity and Islamic (neo-) traditionalism. Music has always stimulated communitas. The sense of oneness with others it creates fosters community identity, and under the right circumstances, has the power to bring disparate groups together. This network of emergent and established researchers and practioners, accordingly, will facilitate four necessary, interrelating workshops on the following themes: 'Resistance, South Art, and Community in the Muslim context'; 'Beneath State and Orthodoxy'; 'Gender, neo-traditionalism and musical resistance' and 'Diasporas, transnationalism and transfundamentalism'. Emphasising that music in Islam cannot be conceived monolithically or monoculturally, the project's contemporary relevance will be a catalyst and location for dialogue between research, practise and policy.