Emotions in performance

• Verfasst von: Petievich, Carla [VerfasserIn]
• Verfasst von: Stille, Max [VerfasserIn]
• Titel: Emotions in performance
• Titelzusatz: poetry and preaching
• Verf.angabe: Carla Petievich, The University of Texas at Austin, South Asia Institute, USA, Max Stille, Max Planck Institute for Human Development, Berlin
• Umfang: 36 S.
• Fussnoten: Gesehen am 01.09.2017
• Titel Quelle: Enthalten in: The Indian economic and social history review
• Jahr Quelle: 2017
• Band/Heft Quelle: 54(2017), 1, S. 67-102
• ISSN Quelle: 0973-0893
• DOI: doi:10.1177/0019464616683481
• Datenträger: Online-Ressource
• Sprache: eng
• K10plus-PPN: 1560961805

Abstract

Emotions are largely interpersonal and inextricably intertwined with communication; public performances evoke collective emotions. This article brings together considerations of poetic assemblies known as ‘mushāʿira’ in Pakistan with reflections on sermon congregations known as ‘waʿz mahfil’ in Bangladesh. The public performance spaces and protocols, decisive for building up collective emotions, exhibit many parallels between both genres. The cultural history of the mushāʿira shows how an elite cultural tradition has been popularised in service to the modern nation state. A close reading of the changing forms of reader address shows how the modern nazm genre has been deployed for exhorting the collective, much-expanded Urdu public sphere. Emphasising the sensory aspects of performance, the analysis of contemporary waʿz mahfils focuses on the employment of particular chanting techniques. These relate to both the transcultural Islamic soundsphere and Bengali narrative traditions, and are decisive for the synchronisation of listeners’ experience and a dramaticisation of the preachers’ narratives. Music-rhetorical analysis furthermore shows how the chanting can evoke heightened emotional experiences of utopian Islamic ideology. While the scrutinised performance traditions vary in their respective emphasis on poetry and narrative, they exhibit increasingly common patterns of collective reception. It seems that emotions evoked in public performances cut across ‘religious’, ‘political’, and ‘poetic’ realms—and thereby build on and build up interlinkages between religious, aesthetic and political collectives.