ABSTRACT

What does it mean to be musically haunted? In the Algerian popular Islamic ritual called dīwān, one can be haunted by the deep, bass-register melodies of spirits, saints and historical figures of the trans-Saharan slave trade. Musical haunting is affective haunting. Melodies are not only felt emotionally as recurrent fear, dread and ambiguous loss (Boss 1999. Ambiguous Loss: Learning to Live with Unresolved Grief. Cambridge and London: Harvard University Press.) but they are also simultaneously physically arresting for the body and senses, erupting into uncomfortable sensations like prickling skin and knots in the stomach, eventually precipitating into registers of trance. Here, musical affects manifest spectrally – both directly as non-human entities or spirits and indirectly through strong emotions that tend to ‘take over’. The haunted are never eventually ‘healed’ in ritual, in the sense of completion; suffering always comes back in some form. Rather, dīwān is a modality of continually inhabiting and embodying various tumultuous, political histories perpetually resounding through the daily lives and physical bodies of the dīwān community. By way of non-Western understandings of affect, music, and ritualised temporality, this essay illustrates an intertwined, spectral interdependency of music, affect and politics.

摘要

被音乐困扰是什么意思？在阿尔及利亚流行的伊斯兰教习俗dīwān中，泛撒哈拉奴隶贸易的精神，圣人和历史人物的深沉低音调困扰着人们。音乐困扰是情感困扰。旋律不仅在情感上感觉像是反复发作的恐惧，恐惧和模棱两可的损失（Boss，1999年。模棱两可的损失：学会与未解决的悲伤共存。剑桥和伦敦：哈佛大学出版社。），但他们同时也在身体上为身体和感觉而停滞，爆发出不舒服的感觉，例如刺破皮肤和胃结，最终沉淀为发呆的迹象。在这里，音乐的影响在频谱上得以体现-既直接表现为非人类的实体或精神，又通过倾向于“接管”的强烈情感间接地表现出来。从完成的意义上讲，被困扰的人永远不会在仪式上“被治愈”。痛苦总是以某种形式返回。相反，dīwān是一种不断居住和体现各种混乱的政治历史的形态，这些历史不断地在dīwān的日常生活和身体中回荡。社区。通过对情感，音乐和仪式化的时间性的非西方理解，本文说明了音乐，情感和政治之间相互交织的，光谱上的相互依存关系。