The Untidy Playground: An Irish Congolese Case Study in Sonic Encounters with the Sacred Stranger
This paper explores the proposal that music, and particularly singing, has unique properties that render it amenable to encounters with the other or the sacred stranger. Drawing on the deconstructionist works of Kristeva and Derrida, as well as the postmodern hermeneutics of Kearney and Caputo, it...
| Publié dans: | Religions |
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| Auteur principal: | |
| Type de support: | Électronique Article |
| Langue: | Anglais |
| Vérifier la disponibilité: | HBZ Gateway |
| Journals Online & Print: | En cours de chargement...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Publié: |
MDPI
[2017]
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| Dans: |
Religions
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| Sujets non-standardisés: | B
Singing
B Ireland B Migration B Music B asylum-seeker B sonority B Refugee B the Congo B Creativity B the sacred |
| Accès en ligne: |
Accès probablement gratuit Volltext (Verlag) Volltext (doi) |
| Résumé: | This paper explores the proposal that music, and particularly singing, has unique properties that render it amenable to encounters with the other or the sacred stranger. Drawing on the deconstructionist works of Kristeva and Derrida, as well as the postmodern hermeneutics of Kearney and Caputo, it explores current debate concerning the nature of the sacred in contemporary life and the erosion of the theistic/atheistic divide, while proposing a deepening of the debate through the inclusion of the performative. As philosophical and theological discourses embrace this aporia, it does so against the backdrop of unprecedented human migration. The concomitant cultural and social disruption throws up new questions around the nature and experience of religion, spirituality and the sacred. This paper explores these questions in the context of a Congolese choir called Elikya, which was established by a group of asylum seekers in Limerick city, Ireland, in 2001. In tracking the musical life of this choir over the last decade and a half, including two musical recordings and numerous liturgical, religious and secular performances, it suggests that the sonic world of the choir both performs and transcends these descriptors. Using a three-fold model of context, content and intent, the paper concludes that musical experiences such as those created by Elikya erode any easy divisions between the religious and the secular or the liturgical and the non-liturgical and provide sonic opportunities to encounter the sacred stranger in the untidy playground of creative chaos. |
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| ISSN: | 2077-1444 |
| Contient: | Enthalten in: Religions
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| Persistent identifiers: | DOI: 10.3390/rel8110249 |